More often than not, you find yourself floating somewhere between inspiration and desperation. What's a crazy busy (but kind of lazy) home cook to do?The answer: pick up this book. Ready or Not makes healthy Paleo home cooking a breeze, no matter if there's time to prepare or just minutes to spare. Whether you're a fastidious planner or a last-minute improviser, you'll find plenty of deliciously nourishing options, from make-ahead feasts to lightning-fast leftover makeovers. Presented in Nom Nom Paleo's deliriously fun comic book style, Ready or Not makes Paleo cooking easy, no matter how much time you have. In fact, this cookbook is organized into color-coded sections to match your readiness level:GET SET! First, stock your kitchen with essential building blocks--from store-bought necessities to D.I.Y. ingredients that'll set you up for anytime cooking.READY! Got time to cook? Turn to these recipes for make-ahead meals and spectacular dishes like Pressure Cooker Bo Ssäm and Strawberry Almond Semifreddo!KINDA READY! Learn how to transform pantry staples and leftovers into impromptu meals that'll satisfy the most discriminating palates.NOT READY! Emergency meals can be delicious, too. In this section, you'll find super-fast recipes like savory stir-fries and sheet pan suppers.Along with colorfully written and gorgeously photographed step-by-step recipes presented in a cheeky cartoon format, Ready or Not features kitchen hacks, Paleo ingredient guides, meal plans, shopping lists and more!

    Teri Turner, creator of No Crumbs Left, has healthful and great tasting answers. Food is Teri’s love language, and her approach to getting people into the kitchen, rolling up their sleeves, and cooking is contagious. “Don’t be afraid to fail: it’s just food,” is one of her mantras. Teri’s passion is evident on every page of her first cookbook, as she leads readers through a discovery of new flavors and spice combinations and teaches people to trust their cooking instincts. Teri’s recipes, most of which are gluten-free, grain-free, dairy-free, and Whole30 compliant, are what makes No Crumbs Left so unique. Simple and incredibly delicious dishes such as Pistachio Pesto Chicken Breast, Shrimp Pad Thai, and Spicy Pepperoncini Beef are on the dinner table quickly. The impossibly easy Sugar Snap Pea Salad features two of Teri’s signature Magic Elixirs, Green Goddess Dressing and Smoky Pepitas, which are both made in advance and kept on hand to elevate countless meals. Her signature Marinated Red Onions, 999 Island Dressing, Gomasio, and Spicy Almond Sauce are true secret weapons. The Family chapter features the special recipes her own children grew up with and evoke home, love, and motherhood. Teri considers this book a love letter to her mother, and woven throughout are tips and favorite quotes to bring you right into her kitchen, where there is always an extra seat at the table.

    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.

    A verse account of the popular writer's first trip to Japan, in the spring of 1976, offers an out-of-the-ordinary view of Japan

    The 44 pieces collected here--particularly the long title-poem--find the poet applying his uniquely lyric, meditative, and often hilarious sensibility to the mysterious and incessant curves and crests of love, art, thought, experience, and selfhood.

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.

    A man and a woman sit at the same dinner table, an ocean of worry separating them. An iceberg sets out to dance. A sword swallower ponders his dating prospects. "The vessel is simple, a rowboat among yachts," the poet observes in "Ukulele." "No one hides a Tommy gun in its case. / No bluesman runs over his uke in a whiskey rage."Beasley's voice is pithy and playful, with a ferocious intelligence that invites comparison to both Sylvia Plath and Dorothy Parker. In one of six signature sestinas, she warns, "You must not use a house to build a home, / and never look for poetry in poems." The collection’s centerpiece is a haunting sequence that engages The Traveler's Vade Mecum, an 1853 compendium of phrases for use by mail, telegraph, or the enigmatic “Instantaneous Letter Writer."Assembled over ten years and thousands of miles, these poems illuminate how intimacy is lost and gained during our travels. Decisive, funny, and as compassionate as she is merciless, Beasley is a reckoning force on the page.

    We Were Young explores the heartbreaks, hangovers, and hang ups associated with growing up.

    Reading them is a sensual delight." -- May Swenson

    He is a forceful, cogent, incisive phrase-maker."—Bill Knott"The yearning in these poems is awash in dense, spiritual sexuality buffeted by time and the mishandling of promises and breakable bonds."—apt The Truth Is We Are Perfect contains fifty-four lyrics exploring the loss of oneself through the loss of an other, and how we seek to recreate ourselves in that absence. Stucky journeys into nothingness and, consequently, into awareness. His meditative sensibilities and minimalist style create ritualized poems acting as spells—transcribed to be read aloud and performed in the service of realizing that which we seek to become: "Because I love a burning thing / I made my heart a field of fire."Janaka Stucky is the publisher of Black Ocean as well as the annual poetry journal Handsome. He is the author of two chapbooks: Your Name Is The Only Freedom, and The World Will Deny It For You. His poems have appeared in such journals as Denver Quarterly, Fence and North American Review, and his articles have been published by the Huffington Post and the Poetry Foundation. He is a two-time National Haiku Champion and in 2010 he was voted "Boston's Best Poet" in the Boston Phoenix.

    some planet is what it’s like to be a human. existing in one’s mind, in one’s body, in one’s world, in one’s galaxy, all tiny universes inside tiny universes all locked in fevered conversation. some planet is the coin in your pocket when you don't know how to choose. some planet is when everything is both itself and simultaneously else. jamie mortara is leading you through the woods by the hand, trying to get you home safe before sun goes down.

    The path to a healthy body and happy belly is paved with real food fresh, wholesome, sustainable....

    It is the first book-length collection by an accomplished, original voice. Sunday mornings are never going to be the same again."The voice is laconic and composed but its images come off these pages resonant (more than resonant, shaking) with their own newness." -- Don Coles

    These characterful, intelligent and darkly witty poems explore lives lived strangely in unusual worlds, through a series of deft and seductive soliloquies.In a collection with a taste for ventriloquy and wickedness, and a flair for vocal cross-dressing, the balance of power is always shifting in an unexpected direction - an ingénue masquerades as a femme fatale, a doctor appears more disturbed than his patient, and parents seem more unruly than their children. Eccentric, intimate, arch, anxious, decadent and sometimes mournful, the book's confiding, conversational voices tell stories recognisable and refracted, carried along by the undercurrent on which the collection ebbs and rides: the anguish and energy brought about by a long-distance love affair, which propels and terrorises and ultimately unites the work.Dear Boy is an irresistible and enlivening collection by a new poet of startling and various gifts.

    Wright’s most intimate thoughts and images appear before us in dramatic and spectral short narratives: mesmerizing poems whose colloquial sound and rhythms announce a new path for this luminous and masterful poet. In these journeys, we hear the constant murmured “yes” of creation—“it will be packing its small suitcase soon; it will leave the keys dangling from the lock and set out at last,” Wright tells us. He introduces us to the powerful presences in his world (the haiku master Basho, Nietzsche, St. Teresa of Avila, and especially his father, James Wright) as he explores the continually unfolding loss of childhood and the mixed blessings that follow it. Taken together, the pieces deliver the diary of a poet—“a fairly good egg in hot water,” as he describes himself—who seeks to narrate his way through the dark wood of his title, following the crumbs of language. “Take everything,” Wright suggests, “you can have it all back, but leave for a little the words, of all you gave the most mysteriously lasting.” With a strong presence of the dramatic in every line, Kindertotenwald pulls us deep into this journey, where we too are lost and then found again with him.