These darkly humorous poems illuminate far corners of the heart, revealing teeth, tails, and more than a few dreams.I watched a lion eat a man like a piece of fruit, peel tendons from fascialike pith from rind, then lick the sweet meat from its hard core of bones.The man had earned this feast and his own deliciousness by ringing a stickagainst the lion's cage, calling out Here, Kitty Kitty, Meow!With one swipe of a paw much like a catcher's mitt with fangs, the lionpulled the man into the cage, rattling his skeleton against the metal bars.The lion didn't want to do it—He didn't want to eat the man like a piece of fruit and he told the crowdthis: I only wanted some goddamn sleep . . . Natalie Diaz was born and raised on the Fort Mojave Indian Reservation in Needles, California. After playing professional basketball for four years in Europe and Asia, Diaz returned to the states to complete her MFA at Old Dominion University. She lives in Surprise, Arizona, and is working to preserve the Mojave language.

    A memoir in essay form, with the body as its central reference point.

    Based on a lecture given at Girton College, Cambridge, the essay is one of the great feminist polemics, ranging in its themes from Jane Austen and Charlotte Bronte to the silent fate of Shakespeare's gifted (imaginary) sister and the effects of poverty and sexual constraint on female creativity.Virginia Woolf (1882-1941) is regarded as a major twentieth-century author and essayist, a key figure in literary history as a feminist and a modernist, and the centre of 'The Bloomsbury Group'.

    This voluminous collection of Rollins' first five books shows the evolution of a man grinding his way through the challenges of the independent music circuit. Includes High Adventure in the Great Outdoors, Bang!, Art to Choke Hearts, Pissing In The Gene Pool and One From None.

    Listening to his sermons, sharing coconut-flavored ices on their walks through town, roaming through the house that held together many members of a colorful extended family, Edwidge grew profoundly attached to Joseph. He was the man who “knew all the verses for love.” And so she experiences a jumble of emotions when, at twelve, she joins her parents in New York City. She is at last reunited with her two youngest brothers, and with her mother and father, whom she has struggled to remember. But she must also leave behind Joseph and the only home she’s ever known. Edwidge tells of making a new life in a new country while fearing for the safety of those still in Haiti as the political situation deteriorates. But Brother I’m Dying soon becomes a terrifying tale of good people caught up in events beyond their control. Late in 2004, his life threatened by an angry mob, forced to flee his church, the frail, eighty-one-year-old Joseph makes his way to Miami, where he thinks he will be safe. Instead, he is detained by U.S. Customs, held by the Department of Homeland Security, brutally imprisoned, and dead within days. It was a story that made headlines around the world. His brother, Mira, will soon join him in death, but not before he holds hope in his arms: Edwidge’s firstborn, who will bear his name—and the family’s stories, both joyous and tragic—into the next generation. Told with tremendous feeling, this is a true-life epic on an intimate scale: a deeply affecting story of home and family—of two men’s lives and deaths, and of a daughter’s great love for them both.

    But a house of her own, where she could truly take root, has eluded her. With this collection—spanning nearly three decades, and including never-before-published work—Cisneros has come home at last. Ranging from the private (her parents' loving and tempestuous marriage) to the political (a rallying cry for one woman's liberty in Sarajevo) to the literary (a tribute to Marguerite Duras), and written with her trademark sensitivity and honesty, these poignant, unforgettable pieces give us not only her most transformative memories but also a revelation of her artistic and intellectual influences. Here is an exuberant, deeply moving celebration of a life in writing lived to the fullest—an important milestone in a storied career.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Its declarative sentences—seductive, abject, caustic, moving, informative, and utterly inventive—herald a new world, one in which we are blessedly 'here with outfits like strings of light and no future.' I hail its weirdness, its 'armpit frankess,' its indelible portrait of occulted relation, and above all, its impeccable music."—Maggie NelsonConstruction becomes quiet, the saw buzz and the bang little white wisps that stop at my edges. We'll get used to most anything, at least enough to keep going. The will of the wisp. I want to poke a hole in my words so that people notice you are not here. Comfortable divots you could fill some day, if you wanted to. My mother sighs, my friends sigh. "You're so sad," they say. I'm not, I'm really not. I'm just trying to breathe fully. The shadow of the mountain turns with the day, encroaching. When it settles on me I put the hammer down and walk to where it is still warm.In Syzygy, Beauty, T Fleischmann builds an essay of prose blocks, weaving together observations on art, the narrator's construction of a house, and a direct address to a lover. Playing with scale and repetition, we are kept off-center, and therefore always looking, as the speaker leads us through an intimate relationship that is complicated and deepened by multiple partners, gender transitions, and itinerancy.

    Broken up into four chapters, she holds your hand and takes you inward with her, from skin to flesh, to flesh to bones, from bones to all that lies within. Both heartbreaking and hopeful, The Anatomy of Being marks a very distinct time in a young girl's life, and aches and aches to be heard and devoured. 2013 Goodreads Choice Awards Poetry Finalist

    Upon its first publication by Sun & Moon Press (the edition reprinted here) the publication Library Journal described the book as one that "is an intriguing journey that both illuminates and perplexes, teases and challenges, as it reveals an innovative artist at work."Lyn Hejinian is the author of The Cell, The Cold of Poetry, Writing Is an Aid to Memory and A Border Comedy. She lives in Berkeley and teaches at the University of California.

    She asks what our privacy, our intimacy, and our own bodies are worth in the increasingly digital world of liking, linking, and sharing.Starting with Hodson’s own work experience, which ranges from the mundane to the bizarre—including modeling and working on a NASA Mars mission— Hodson expands outward, looking at the ways in which the human will submits, whether in the marketplace or in a relationship. Both tender and jarring, this collection is relevant to anyone who’s ever searched for what the self is worth.Hodson’s accumulation within each piece is purposeful, and her prose vivid, clear, and sometimes even shocking, as she explores the wonderful and strange forms of desire. This is a fresh, poetic debut from an exciting emerging voice, in which Hodson asks, “How much can a body endure?” And the resounding answer: "Almost everything."

    In 1845, seven years after escaping to the North, he published Narrative, the first of three autobiographies. This book calmly but dramatically recounts the horrors and the accomplishments of his early years—the daily, casual brutality of the white masters; his painful efforts to educate himself; his decision to find freedom or die; and his harrowing but successful escape.An astonishing orator and a skillful writer, Douglass became a newspaper editor, a political activist, and an eloquent spokesperson for the civil rights of African Americans. He lived through the Civil War, the end of slavery, and the beginning of segregation. He was celebrated internationally as the leading black intellectual of his day, and his story still resonates in ours.

    Park has spent his entire life trying to become a true American—a native speaker. But even as the essence of his adopted country continues to elude him, his Korean heritage seems to drift further and further away. Park's harsh Korean upbringing has taught him to hide his emotions, to remember everything he learns, and most of all to feel an overwhelming sense of alienation. In other words, it has shaped him as a natural spy. But the very attributes that help him to excel in his profession put a strain on his marriage to his American wife and stand in the way of his coming to terms with his young son's death. When he is assigned to spy on a rising Korean-American politician, his very identity is tested, and he must figure out who he is amid not only the conflicts within himself but also within the ethnic and political tensions of the New York City streets.Native Speaker is a story of cultural alienation. It is about fathers and sons, about the desire to connect with the world rather than stand apart from it, about loyalty and betrayal, about the alien in all of us and who we finally are.

    Binding these essays together is Hong's theory of "minor feelings." As the daughter of Korean immigrants, Cathy Park Hong grew up steeped in shame, suspicion, and melancholy. She would later understand that these "minor feelings" occur when American optimism contradicts your own reality—when you believe the lies you're told about your own racial identity.Hong uses her own story as a portal into a deeper examination of racial consciousness in America today. This book traces her relationship to the English language, to shame and depression, to poetry and artmaking, and to family and female friendship in a search to both uncover and speak the truth.

    debut of internationally acclaimed poet and performance artist Shailja Patel, Migritude is a tour-de-force hybrid text that confounds categories and conventions. Part poetic memoir, part political history, Migritude weaves together family history, reportage and monologues to create an achingly beautiful portrait of women's lives and migrant journeys undertaken under the boot print of Empire. Patel, who was born in Kenya and educated in England and the U.S., honed her poetic skills in performances of this work that have received standing ovations throughout Europe, Africa and North America. She has been described by the Gulf Times as -the poetic equivalent of Arundhati Roy- and by CNN as -the face of globalization as a people-centered phenomenon of migration and exchange.- Migritude includes interviews with the author, as well as performance notes and essays.