K.Williams's work: more than four hundred poems that, though remarkable in their variety, have in common Williams's distinctive outlook—restless, passionate, dogged, and uncompromising in the drive to find words for the truth about life as we know it today.Williams's rangy, elastic lines are measures of thought, and in these pages we watch them unfold from his confrontational early poems through the open, expansive Tar and With Ignorance. His voice is both cerebral and muscular, capable of both the eightline poems of Flesh and Blood and the inward soundings of A Dream of Mind—and of both together in the award-winning recent books Repair and The Singing. These poems feel spontaneous, individual, and directly representative of the experience of which they sing; open to life, they chafe against summary and conclusion.Few poets leave behind them a body of work that is global in its ambition and achievement. C. K. Williams is one of them.

    Pushing her boundaries with more challenging technical poetry writing, she hopes her readership would appreciate Daylight Dialogues as much as they did Midnight Monologues.Paperback is already available in Malaysia, Singapore and the Philippines and has reached the Best seller's list.

    Sloat's Hotel Almighty is a book-length erasure of Misery by Stephen King, a reimagining of the novel's themes of constraint and possibility in elliptical, enigmatic poems. Here, "joy would crawl over broken glass, if that was the way." Here, sleep is “a circle whose diameter might be small," a circle "pitifully small," a "wrecked and empty hypothetical circle." Paired with Sloat's stunning mixed-media collage, each poem is a miniature canvas, a brief associative profile of the psyche―its foibles, obsessions, and delights.

    Through ‘A Rustic Mind’ I aim to provide a thoughtful take on such actions and incidents. Poetic in its expression, these words will strike a chord which is not only deep but relatable on many levels.

    A former resident of St. Louis, where he founded the Observable Poetry reading series, he now lives in Hillsborough, North Carolina.

    In a country where “money has won everywhere,” but the essential promise of democracy still beckons, these poems uncover our troubled psyches and show us what it might mean to be “Free Again.”

    This probing of the changes in the American psyche through the 1970s is carried forward in the second part, Landscapes of Living Dying (1979)—a work originally hailed by Library Journal as "Ferlinghetti's strongest work since his 1957 A Coney Island of the Mind. . . . [He] pursues his disheveled muse with the innocent passion of a young beatnik, hiding his authentic erudition behind a comfortable guise of spontaneous composition."

    Michael Palmer has been hailed by John Ashbery as "exemplarily radical" and by The Village Voice as "the most influential avant-gardist working, and perhaps the greatest poet of his generation." His new book, Company of Mothsa collection in four parts, "Stone," "Scale," "Company of Moths," and "Dream"is beautiful, and fierce: "bright archive, sad merriment," "question pursuing question." Palmer, in this new volume for our darkest times, asks, "How will you now read in the dark?"

    The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension—state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument."Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.

    Her poetic strength lies in her ability to cast poems as modern myths and allegories. Propelled by patterned repetitions and lush cadences, the poems move the reader through a landscape where waking and dream consciousness fuse.Brigit Pegeen Kelly teaches creative writing at the University of Illinois at Urbana-Champaign. Her poetry collections are Song (BOA Editions), the 1994 Lamont Poetry Selection of The Academy of American Poets and a finalist for the 1995 Los Angeles Times Book Award, and To the Place of Trumpets, selected by James Merrill for the 1987 Yale Series of Younger Poets Prize.

    Limón has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a “huge beating genius machine” striving to embrace and understand the fullness of the present moment. “I am beautiful. I am full of love. I am dying,” the poet writes. Building on the legacies of forebears such as Frank O’Hara, Sharon Olds, and Mark Doty, Limón’s work is consistently generous and accessible—though every observed moment feels complexly thought, felt, and lived.

    With formal invention and a wild personae, ZIRCONIA compels one to follow gem-strewn trails of feminine intuition, savagery, ennui, fantasy, and intimacy to their diabolically fruitful conclusions.

    

    During that time, some of these poems appeared in various journals and on Web sites, including The Poetry Daily site, which ran thirty of Lehman's poems in as many days throughout the month of April 1998. For The Daily Mirror, Lehman has selected the best of these "daily poems" -- each tied to a specific occasion or situation -- and telescoped two years into one. Spontaneous and immediate, but always finely crafted and spiced with Lehman's signature irony and wit, the poems are akin to journal entries charting the passing of time, the deaths of great men and women, the news of the day. Jazz, Sinatra, the weather, love, poetry and poets, movies, and New York City are among their recurring themes. A departure from Lehman's previous work, this unique volume provides the intimacy of a diary, full of passion, sound, and fury, but with all the aesthetic pleasure of poetry. More a party of poems than a standard collection, The Daily Mirror presents an exciting new way to think about poetry.

    The voice is consistently spare, honest, understated, and eccentric.