"The Himalayas Within Him" finds Heart worrying about the sound of his own heartbeat, wondering why it doesn't "blare like a quartet of trombones" as it reflects his "ardent complexity." In "Goodbye to the Hands That Have Touched Him" Heart, after suffering many sleepless nights, decides "that love exists at the root of his problems. Without love his path would be as smooth as a plate of glass and he'd sleep like a kitten." Dividing the Heart poems is the long "Oh, Immobility, Death's Vast Associate, " a jazzy disquisition on human isolation and inaction in the midst of a planet full of people feeling similarly. Throughout Pallbearers Envying the One Who Rides Dobyns has painstakingly sculpted straight-forward language into a distinct sound, creating an unforgettable collection of poems that offers readers unexpected revelations about the complexities of the heart.

    Howe's theme is the exile of the spirit in this world and the painfully exciting, tiny margin in which movement out of exile is imaginable and perhaps possible. Her best poems are simultaneously investigations of that possibility and protests against the difficulty of salvation. Boston is the setting of some of the early poems, and Ireland, the birthplace of Howe's mother, is the home of O'Clock, a spiritually piquant series of short poems included in Selected Poems. The metaphysics and the physics of this world play off each other in these poems, and there is a toughness to Howe's unique, fertile nervousness of spirit. Her spare style makes a nest for the soul: Zero built a nest in my navel. Incurable Longing. Blood too— From violent actions It's a nest belonging to one But zero uses it And its pleasure is its own—from The Quietist

    The poem started out as a simple observation of the snow in moonlight, and turned into a poem with more to offer. I'm offering it free to my readers. I've had it on my blog, where it's gotten much response, and wanted to give everyone another way to access it.

    Each of Levin's poems is an astonishing investigation of human darkness, propelled by a sensuous syntax and a desire for healing."This is the language of a prophet: Levin's art, in this book certainly, takes place in a kind of mutating day of judgment: it means to wipe a film from our eyes. It is a dare, a challenge, and, for all its considerable beauty, the opposite of the seductive...Sensuous, compassionate, violent, extravagant: what an amazing debut this is, a book of terrors and marvels."-Louise Gluck, from the IntroductionDana Levin was raised in Lancaster, California, in the Mojave Desert. She has received fellowships, grants, and awards from the National Endowment for the Arts, the Academy of American Poets, the Vermont Arts Council, and New York University, where she received her M.F.A. She lives in New Mexico and teaches Creative Writing at the College of Santa Fe.

    The town is a boring dead end, filled with unlettered roughnecks. His uncle Stewart - from whom he stands to inherit the Running W Ranch - can't stand him. Harrison doesn't even have enough money to get to the big city, where he belongs. There are few bright spots. Things begin to look up when Uncle Stewart turns up missing and feared dead while chasing rustlers. Then Harrison invests $4,000 in a very lucrative and secret deal. Of course Harrison "borrowed" the money from Uncle Stewart's safe. And Harrison also seems to be winning at love. But things do come crashing down....

    Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.

    However there comes a time in every writer’s life when the need to have one’s work appreciated by others overcomes the reticence of their nature. With this book, I have reached the point where I can let you, the reader, enter. See me. Maybe some of the poems here will resonate with you, and that understanding, that secret “yes, I know what she means”, from a stranger, is what I seek.

    Written as a catharsis in the months following the loss of her father in late 2016, Jessica has taken pen to page to say things he and others will never read, either because they can't, or just won't. Containing entirely new works, this is a can't miss release.

    Brave in its nakedness, her work like a lucid stream enjoys itself as it keeps its surefooted course. Written with the precision only passion can ensure, the poems commend us to the gay gravity of angels. This is a collection to be indeed relished and prized.' - Theodore Weiss

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    She never made it. Her brutal murder with a golf club in her own backyard made national headlines. But for years no one was arrested, despite troubling clues pointing to the Skakels, a rich and powerful family related to the Kennedys. After the police department's first unsuccessful attempts to catch the killer, the case lay dormant, and the culprit remained free.Enter Leonard Levitt. In 1982, the Stamford Advocate and Greenwich Time newspapers asked investigative reporter Levitt to look into the murder and the undying rumors of a cover-up. Levitt soon uncovered groundbreaking information about how the police had bungled the investigation, and he learned that Tommy and Michael had lied about their activities on the night of the murder. But Levitt's articles about his findings -- and the haunting questions they raised -- almost never saw the light of day. For years, Levitt's superiors mysteriously refused to publish the stories. Convinced that the Moxley family deserved the peace and closure they had so long been denied, Levitt fought desperately to keep his discoveries alive. Finally, after Levitt's first article appeared, the case was reopened.Enter Frank Garr. As the newly appointed investigator on the Moxley case, the seasoned Greenwich detective doggedly pursued unexplored leads and became increasingly convinced that for over a decade, his colleagues had been pursuing the wrong suspects. At first mistrustful of one another, as reporters and detectives often are, Levitt and Garr became friends, encouraging each other in their quest for the truth as the obstacles against them piled up.In 2002, more than twenty-five years after Moxley's death, a shocked world watched as Michael Skakel was convicted of the murder, thanks largely to the evidence Garr alone had marshaled against him.Now, for the first time, Leonard Levitt tells the amazing true story of Garr's fight to solve the case and of how their friendship with each other, and with Martha Moxley's mother, Dorthy, sustained them over the years. A riveting, suspenseful drama that unfolds like a mystery novel, this incredible memoir also reveals how a police officer and a reporter refused to give up, and how they helped justice to prevail, against all odds.

    

    The book features raw, blunt, and in your face poems depicting the darker side of relationships. Readers will find themes such as lies, cheating, and heartache abundant in much of this collection. Midnight Milkshakes, being the second volume of Ray's Ice Cream And Suicide, is great for returning readers to the series. The book focuses on much of the same style and mood that is common in his writings.

     THE SIMPLE AND POWERFUL IDEAS IN THIS BOOK CAN CHANGE YOUR LIFE FOREVER. Who’s in Your Room? introduces you to the concept of your life being like a room—a room where anyone who enters affects your life . . . forever. Although this concept may sound frightening, this book gives you the tools and exercises you need to take control of your room and live the life you desire.This book brings in experts to describe how people leave you with memories that cannot be erased but can be managed. You manage them by determining what’s really important to you, and then you can determine how to spend your time and whom you should be spending it with. Stop living according to everyone else’s rules. Shape your life by taking control of your room. Live your life by your design!

    He explores the boundaries of human fallibility both in candid personal poems, such as the title piece—a plea for his father, a victim of Alzheimer’s wandering the hallway at night—and in his passionate encounters with classic poetic texts, as when Dante’s Inferno enters his bedroom:When you read Canto Five aloud last night in your naked, singsong, fractured Italian, my sweet compulsion, my carnal appetite, I suspected we shall never be forgiven for devouring each other body and soul . . . From the lighting of a Yahrzeit candle to the drawings by the children of Terezin, Hirsch longs for transcendence in art and in the troubled history of his faith. In “The Hades Sonnets,” the ravishing series that crowns the collection, the poet awakens full of grief in his wife’s arms, but here as throughout, there is a luminous forgiveness in his examination of our sorrows. Taken together, these poems offer a profound engagement with our need to capture what is passing (and past) in the incandescence of language.From the Hardcover edition.