CITY OF ROGUES: Book I of The Kobalos Trilogy Kron Darkbow seeks vengeance, and he plans to have it no matter the costs. Returning to the city of his birth after 15 years, he hunts down the wizard responsible for the deaths of those he loved only to find out another was responsible for the murders. That other is Belgad the Liar, a former barbarian chieftain who is now boss of the city's underworld.  ROAD TO WRATH: Book II of The Kobalos Trilogy Kron Darkbow has fled the city of Bond, along with healer mage Randall Tendbones and professional duelist Adara Corvus. Everywhere they turn are enemies. Even the goal of their travels offers no peace, for the group rides to the land of Kobalos where Randall must face that nation’s Lord Verkain, the alleged Dark King of the North.  DARK KING OF THE NORTH: Book III of The Kobalos Trilogy Kron Darkbow and companions have survived the mean streets of the city of Bond and the dangers of the Prison Lands, but now they dare to journey into Kobalos, a dark northern land ruled by King Verkain, a powerful mage rumored to be immortal and mad.  Always on their trail is underworld crime boss Belgad the Liar and his crew of deadly killers. Not only does Belgad seek vengeance against Kron, but he also wants to capture Kron's friend, the healer Randall Tendbones, the last of Verkain's children whom the king wants dead.  It is in Kobalos, in the darkest of hours, alone with enemies all around, Darkbow becomes the last hope for all. But to defeat his foes, first he must learn to defeat his own rage. GHOSTS OF THE ASYLUM: Book I of The Horrors of Bond Trilogy The streets of the city of Bond boil with discontent.  Political struggles within a power vacuum bring dreams of dominance to some among the lower levels of the city’s underbelly. Common thugs and guild bosses alike conspire together, their goal to eliminate the figure of Kron Darkbow.  Permanently.  Kron has become a symbol on the streets, and his removal would not only clear the way for others, but also would be a sign of who has the real power in Bond.  Amidst the chaos, buildings burn, riots go nearly unchecked, and even the city guard find themselves forced to retreat.  DEMON CHAINS: Book II of The Horrors of Bond Trilogy A sick murderer stalks the streets of the city of Bond.  The killer leaves behind tortured and twisted bodies sliced and ripped apart, often after the most horrible of violations. It falls upon Kron Darkbow to hunt this killer preying upon the weak and the strong alike, but he soon realizes there is more than one culprit involved in these horrible crimes. A dark mage and his demon partner are at fault, and with each death they grow more and more powerful.  THE COMPANY OF SEVEN: Book III of The Horrors of Bond Trilogy An undead mage thousands of years old slinks through the city of Bond.  Rising up from beneath the soil, he soon finds himself allied with escaped fugitives from the Prisonlands, a former knight, a pair of assassins and the chief of thieves.  Each has their own wants, their own goals, but the wizard's are the most deadly to the citizens of Bond, and he refuses to be denied his destiny.

                Two empty suitcases sit in the corner, if that’s any kind of clue.                                —from “Almost Sixty” Brief, jagged, haiku-like, Jim Moore’s poems in Invisible Strings observe time moving past us moment by moment. In that accrual, line by line, is the anxiety and acceptance of aging, the mounting losses of friends to death or divorce, the accounting of frequent flyer miles and cups of coffee, and the poet’s own process of writing. It is a world of both diminishment and triumphs. Moore has assembled his most emotionally direct and lyrically spare collection, one that amounts to his book of days, seasons, and stark realizations.

    Repeatedly confronting the darkness, his own sense of godlessness (“Forgive me, faith, for never having any”), he also struggles with the unlikely presence of the divine, the power of art to redeem human transience, and the complexity of relationships. Throughout the collection, his own life trajectory enriches the poems; he is the “skinny, long-beaked boy / who perched in the branches of the old branch library,” as well as the passionate middle-aged man who tells his lover, “I wish I could paint you— / . . . / I need a brush for your hard angles / and ferocious blues and reds. / . . . / I wish I could paint you / from the waist down.”Grieving for the losses occasioned by our mortality, Hirsch’s ultimate impulse as a poet is to praise—to wreathe himself, as he writes, in “the living fire” that burns with a ferocious intensity.

    Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page.The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene.Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

    So why is it that so many young adults identify themselves as unsatisfied or unhappy with their lives? There is a misconception that in order to be happy you must first be successful. In fact, the opposite is true: you must be happy first in order to be successful. This raises the question: How do I become happy? The answer: Discover your authentic self. See Me is about the importance of living authentically as a young adult. While young adults tend to talk about authenticity, it can actually be the hardest time in your life to feel confident in yourself. This book is a tool to help you stay true to who you are amidst the pressure to conform to societal norms. It aims to inspire young adults through guiding principles and the incredible stories of others who comprehend the value non-conformity and consistently work to live an authentic life.

    A first in audiobook publishing--a series that uses the written word to enhance the listening experience--poetry to be read as well as heard. Each audiobook includes rare archival recordings on cassette and a book with the text of the poetry, a bibliography, and a commentary by J. D. McClatchy, the poet and critic, who is the editor of The Yale Review.

    She has since published many more books in multiple genres and for readers of all ages, but poetry remains at the heart of her work. Many-Storied House is her fifth collection. While teaching aspiring writers, Lyon asked her students to write a poem based on memories rooted in a house where they had lived. Working on the assignment herself, Lyon began a personal

    —from "Arriving Again and Again Without Noticing"In one poem in this emotional and spiritual collection, Linda Gregg asks, "It is clear why love / took me to the shore of death, / but why did it bring me back?" In the Middle Distance, Gregg's sixth book, explores up to and beyond the crossroads of devastation and desire. There, she finds not only survival but also salvation—hard-won, resilient, and meaningful.This collection brings Gregg's passion and intensity together with a new wisdom and vitality that is unmistakably original.

    She is the second daughter who never did anything right. Her only vice is smoking. She is dating a guy for three years, to please her mother more than to please herself. What her friends Do not know about her: She has a hunky next-door neighbor. She decided to go down her prudish facade for just one night. On that night, she ended up going home with the city's most notorious rake. She gave her body and shared her passion with him. She intends to keep her one-night-stand all to herself. But her rakehell is not about to let her forget him as easily as she thought. And her one-night-stand will lead to many nights of forbidden passion.

    . . short poems so as to draw us into the doubleness and fluency of feelings."—The New York Times Book ReviewQuietly marked by elegy and memory, National Book Award winner Jean Valentine's thirteenth book is empowered by her signature clear music and compassion. Valentine leads us chronologically from childhood drawings and wartime memories to the present, where she addresses aging and the loss of loved ones. These poems of tender grace reflect on the small histories few ever fully see.Shirt in HeavenCome upon a snapshotof secret you, smiling like FDR, leaning on your crutches—come upon letters I thought I'd burned—I suppose you've got a place with lots of stairs.I'm at the end of something, you're at the beginning . . . —dearest, they told me a surgeon sat downin the hospital morgue, next to your body, & cried.He yelled at the aide to get out.His two sons had been your students.—me too, little-knowing—Jean Valentine is the current State Poet of New York and author of twelve books of poetry, including Door in the Mountain, which won the National Book Award. She has taught at Sarah Lawrence College, New York University, and Columbia University, and lives in the Morningside Heights neighborhood of New York City.

    His first collection, set in the Midwest, alternately features a childhood Wisconsin farm, the record-breaking storm that destroyed it, and the turbulent marriage that recalls it. Love and wonder mingle in these lines.

    There is the sense of the speaker as a cartographer of familiar spaces, of land he has never left or relationships that have stayed with him for years, and always with the newness of an alien or stranger. Acutely attuned to the heritage of Greco-Roman myth, Wilson writes through characters such as the Basilisk and the Minotaur, emphasizing the intense loneliness these characters experience from their uniqueness. For the racially ambiguous speaker of these poems, who is both black and not black, who has lived between the American South and the Midwest, there are no easy answers. From the fields of Kentucky to the pigeon coops of Chicago, identities and locations blur―the pastoral bleeds into the Afrofuturist, black into white and back again.

    More neurotic than it is sane. More corrupt than it is law-abiding. And more prone to hurricanes than it should be.This book is a celebration of life, love and adventure--an enchanting account of a couple who weren't afraid to jump off the hamster wheel and have a go at a dream.

     But Clementine is different. She wants more from life than to just walk in her husband’s shadow. Like the formidable Florence Nightingale, she has a dream to become a nurse of the Empire. Her path crosses with the handsome and dashing hussar, Major Stirling Whitt Whittaker. A whirlwind love affair ensues, leading to young Stirling asking for Clementine’s hand in marriage. However, as fate would have it, the Crimean War drags them apart, twisting and weaving the threads of destiny. Will her Stirling survive the horrors of war unscathed or will she have to treat him like the many other hundreds of men coming from the front? *A Charming Cavalryman for Clementine is a historical regency romance of 80,000 words (around 450 pages). No cheating, no cliffhangers, and a sweet happily ever after. Get this book for free with Kindle Unlimited!

    This is their story--ultimately a love story--darkly funny, mournful, testy. It is about a reader who at times presides over the page like a god, and at others follows the leash of the author's voice through the dark streets of the book like a dog, and it is about a writer of determined slipperiness.  As we read, we think that each of us is The Reader, the one who knows the Real Story. But the more we think we understand, the more the story moves away from us—all is not what it seems. This eagerly awaited third volume by the poet whose work The New York Times described as "at once charmed and frightening" is a book of high-spirited subversiveness, a work of argument, seduction, and a relentless devotion to language. Then, Suddenly— bristles with the sound of the author's voice--insistent, vital, hilarious, and iconoclastic--tearing away at the confinement of the page and at the distance between the page and the reader. Emanuel's images are dazzling. She creates a performance that is fearsome and funny in its portrayal of the argument between the work of the text and the world of the body. The Gettsyburg Review has called her a writer of "exquisite craftsmanship" who can "strike from language . . . images chiseled clean as bas-relief." Then, Suddenly— is a book of spectacle and verve, part elegy, part vaudeville.