Akiko reshaped the tanka, the most popular form of Japanese poetry for 1,200 years, into a modern poetic form. In this new work, her tanka appear in their original Japanese, in roman transliterations, and English translations along with a new preface and notes. Suitable for literature programs and translation courses.

    Rousing and empowering, There Are Girls like Lions is a celebration of womanhood in all its dimensions, including love, beauty, friendship, motherhood, work, aging, and much more. Packaged in an attractive case with foil stamping and featuring striking illustrations in metallic ink throughout, this powerful collection will resonate as a gift for any modern woman.

    Broder’s language is entirely her own, marked both by brutal strangeness and raw intimacy. At turns essayistic and surreal, bouncing between the grotesque and the transcendent, Superdoom is a must-have for longtime fans and the perfect introduction to one of our most brilliant and original poets.

    What this is is every emotion a woman has ever felt when dealing with love, but could never put into words. This is looking at yourself in the mirror. This is finally being able to look at your situation from the outside looking in. This is a look into the too often scarred hearts of our women. This is inspiration. This is hope.

    In an essay on his career, Edward Hirsch describes They Feed They Lion as his "most eloquent book of industrial Detroit . . . The magisterial title poem--with its fierce diction and driving rhythms--is Levine's hymn to communal rage, to acting in unison." Of The Names of the Lost: "In these poems Levine explicitly links the people of his childhood whom 'no one remembers' with his doomed heroes from the Spanish Civil War."

    Each was a defence and elaboration of his short satirical poem The Angry Hive, 1705. The version of the Fable of 1723 and 1732 are the fullest defences of his early paradox that social benefit is the unintended consequence of personal vice. It is an argument that is generally held to lie behind Adam Smith's doctrine of the 'hidden hand' of economic development.

    

    The impact of Alberto's labor has resulted in numerous articles of praise from the most influential mass media of Sweden, Scandinavia and Europe, such as Aftonbladet, QX, SVT and LT. 'eighteen' has also been a selected reading in European universities for raising awareness upon issues such as bullying and abuse, while the amenity of the work also encourages the youth to read more. The book is divided into three parts. Each part deals with a different stage, represented as the different cycles of the metamorphosis of a butterfly, and illustrated by the author.'the ending' as the larva, deals with abuse, homophobia, loss, bullying and suicide.'the transition' as the cocoon, explores self-discovery, healing, grieving, forgiveness, life and death. 'the beginning' as the butterfly, is a celebration of one self and of the existing beauty in this world. It exudes love and power. Joy and hope after the misery. Alberto Ramos was just fifteen when he moved from his hometown Málaga Spain, to Stockholm Sweden, and left his family and friends behind to join his bestfriend on their long-awaited international high school experience. Little did he know what he thought would be the beginning was nothing but endings. 'eighteen' is the journey since the ending until the beginning.

    Defying the conventions of the time, they were truly innovative. Featuring meditations on everyday life, love, nature, and society, the genius of her creativity is hard to ignore.Short, yet keenly observed, her poems pack a powerful punch. This carefully chosen selection covers a range of her most loved verses and brings you face to face with the private world of one of America's greatest poets.

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    These intimate moments serve as windows onto a world of innocent voyeurism and surreal misunderstanding, as Lange’s family learns to live with the eccentric little spy in their midst—and vice versa. Lange recalls her older sister bathing nude in the moonlight, she recalls the death of a horse, she recalls how she cried when she was lifted onto a table and dressed as a boy, and yet how she laughed when climbing onto the roof in men’s clothing to throw bricks.Through a veneer of comforting domesticity, these “notes” show us childhood at its most elemental: a laboratory of life in which strangeness, joy, terror, and eroticism combine and collide.

    There was a woman.There was a cross. But in factthey have hung him too high to be touched.—from "A Woman Wipes the Face of Jesus"

    Truly amazing collection!"—Margaret Cho"Sister Spit is like the underground railroad for burgeoning queer writers. Not only in the van, but in the audiences trapped in the hinterlands of America and looking to escape. Sister Spit saves lives."—Justin Vivian Bond, author of TANGO: My Childhood, Backwards and in High HeelsA collection of writing and artwork from the irreverent, flagrantly queer, hilariously feminist, tough-talking, genre-busting ruffians who have toured with the legendary Sister Spit. Co-founded in 1997 by award-winning writer Michelle Tea, Sister Spit is an underground cultural institution, a gender-bending writers' cabaret that brings a changing roster of both emerging writers and some of the most important queer and counterculture artists of the day to universities, art galleries, community spaces, and other venues across the country and worldwide.Sister Spit: Writing, Rants and Reminiscence from the Road captures the provocative, politicized, and risk-taking elements that characterize the Sister Spit aesthetic, stamping the raw energy and signature style of the live show onto the page. Bratty poets and failed priestesses, punk angst and tough love, too much to drink and tattooed timelines—this anthology captures it all in a collection of poetry, personal narrative, fiction, and artwork. Featuring a who's who of queer and queer-centric writers and artists, the collection functions as a travelog, a historical document, and a yearbook from irreverent graduates of the school of hard knocks.Includes contributions by Eileen Myles, Beth Lisick, Michelle Tea, MariNaomi, Cristy Road, Ali Liebegott, Blake Nelson, Lenelle Moise, and many more!

    She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other "minorities" have been barred from producing written art. In chapters entitled "Prohibitions," "Bad Faith," "Denial of Agency," Pollution of Agency," "The Double Standard of Content," "False Categorization," "Isolation," "Anomalousness," "Lack of Models," Responses," and "Aesthetics" Joanna Russ names, defines, and illustrates those barriers to art-making we may have felt but which tend to remain unnamed and thus insolvable.

    . . . Hustle is full of dashing nerve, linguistic flair, and unfakeable heart."—Tony HoaglandThe dark peoples with things:for keys, coins, pencilsand pens our pockets grieve.No street lights or signs,no liquor stores or bars,only a lighter for a flashlight,and the same-faced trees,similar-armed stonesand crooked bushesstaring back at me.There is no path in the woods for a boy from the city.I would have set fire to get off this wildernessbut Palomar is no El Camino in an empty lot,the plastic dripping from the dashand the paint bubbling like a toad's throat.If mountains were old pieces of furniture,I would have lit the fabric and danced.If mountains were abandoned crack houses,I would have opened their meanings with flame,if that would have let the wind and trees lead my eyesor shown me the moon's tiptoe on the moss—as you effect my hand,as we walk into the side of a Sunday night.David Tomas Martinez has published in San Diego Writer's Ink, Charlotte Journal, Poetry International, and has been featured in Border Voices. A PhD candidate at the University of Houston, Martinez is also an editor for Gulf Coast.