Critically acclaimed songwriter Courtney Marie Andrews presents her first poetry collection.This poetry collection reads like a transformation, me, the narrator, being the figurative Old Monarch. Documenting this journey, the book is separated into three sections, "Sonoran Milkweed," "Longing In Flight," and "Eucalyptus Tree (My Arrival to Rest)."In the first stage of my journey, I explore my childhood in Arizona, and the naive assumptions of youth. At this stage in my journey, I am impressionable, seeing the world with all its nuances for the first time. Through the landscape of the Sonoran Desert, I explore some dark family dynamics and what a child sees. Several characters turn up in the early poems including my cowboy grandpa, and the single mother who raised me, despite many forthcomings. The early poems also explore my desire to see a brighter world of possibility beyond the dusty desert island, and see humans more clearly within the confounds of discovery.In the second stage, I have left home. I am falling in love for the first time, as I become a young woman.Finally, the last stage is the old monarch's arrival to the garden. There are a lot of metaphysical and philosophical poems in this section. I arrive at the figurative garden, and I finally understand the journey at the edge of my life. There are a lot of poems in the context of a garden here, accepting mortality and the ever-changing world. These are meant to be wise old woman poems.

    In a literary, honest style, evoking Amanda Palmer and Miranda July, Dessa demonstrates just how far the mind can travel while the body is on the six-hour ride to the next rap show. Dessa defies category--she is an academic with an international rap career; a lyrical writer fascinated by behavioral science; and a funny, charismatic performer dogged by blue moods and a perseverant case of heartache. In "The Fool That Bets Against Me," Dessa wonders if the romantic anguish that's helped her write so many sad songs might be an insurable professional asset. To find out, she applies to Geico for coverage. "A Ringing in the Ears" tells the story of her father building an airplane in their backyard garage--a task that took him almost seven years. The essay titled "Congratulations" reflects on recording a song for The Hamilton Mixtape in a Minneapolis basement, straining for a high note and hoping for a break. The last piece in the collection, "Call off Your Ghost," relays the fascinating project Dessa undertook with a team of neuroscientists that employed fMRI technology and neurofeedback to try to clinically excise her romantic feelings for an old flame. Her onstage and backstage stories are offset by her varied fascinations--she studies sign language, algebra, neuroanatomy--and this collection is a prism of her intellectual life. Her writing is infused with fascinating bits of science and sociology, philosophical insights, and an abiding tenderness for the people she tours with and the people she leaves behind to do it.Dessa's music has been praised as "forceful and whip-smart" (NPR) with a sound "like no one else" (The Los Angeles Times); and My Own Devices is as uncompromising and brilliant. Dessa finds unconventional approaches to all of her subjects--braiding her lived experience with academic research and a poet's tone and timing. In the vein of thinkers who defy categorization, we get the debut of a deft, likable, and unusual voice.

    Of her most recent book, Raptus, Carolyn Forché has written that she is “a genuine poet, a born poet, and I am in awe of her achievement.” The poems in Klink’s new collection offer a closely keyed meditation on being alone—on a self fighting its way out of isolation, toward connection with other people and a vanishing world.

    In I Would Leave Me If I Could, she reveals never-before-seen poetry of longing, love, and the nuances of bipolar disorder.

    If you take away what people feel, you take away anything meaningful. Wanting to diminish the evil in this world is a good cause, one I have fought for the majority of my life, but not like this . . . Cherry has a hidden talent. She can see things other people can't and she decided a long time ago to use this skill to help others. As far as the rest of the town is concerned she's simply the kind-hearted young woman who runs the local bakery, but in private she uses her gift to add something special to her cakes so that after just one mouthful the townspeople start to feel better about their lives. They don't know why they're drawn to Cherry's bakery - they just know that they're safe there and that's how Cherry likes it. She can help them in secret and no one will ever need to know the truth behind her gift.And then Chase arrives in town and threatens to undo all the good Cherry has done. Because it turns out she's not the only one who can see what she sees . . . A story of love, food and a little bit of magic, All That She Can See is an enchanting and beautiful novel that's guaranteed to be the most magical story you'll read all year.

    Sifaalgar is a story about different Human from different regions.Bushra Saeed very beautifully focused on the characterization.The main theme of this novel revolves around one of the elements of life SIFAAL(In urdu) means Soil.Soil is one of the most important element in the human life.It is one of the basic elements present in Human,Life,Earth and everywhere.Sifaalgar is a story of all the ups and downs that are embedded in Human Psychology,Faith and beliefs due to social,cultural or religious pressure.She depicted the society as a Kumhaar(in urdu) means Potter.This potter is present in different forms,different relation in form of a mother,father,teacher,friend,leader...Sifaalgar is a story of characters belonging to 2 different eras.Both eras are entirely different and Bushra Saeed depicted the plot,the characterization,the scene depiction so wonderfully that one can hardly find any flaw in it.Main Protagonists of Sifaalgar includes Ibraheem,Ahmed(Grant),Parniyaan,Alba Marsello,Umar,Sofia and Hakeem Begum all belongs to different eras have got different priorities about life but they are knitted so wonderfully that one cannot leave the book unread.In short Sifaalgar is a book which actually reduced my thirst for reading a fine piece of Literature after a very very long time.

    To a smaller yet no less passionate audience, Fowles is also known for having written The Tree, one of his few works of nonfiction. First published a generation ago, it is a provocative meditation on the connection between the natural world and human creativity, and a powerful argument against taming the wild. In it, Fowles recounts his own childhood in England and describes how he rebelled against his Edwardian father’s obsession with the “quantifiable yield” of well-pruned fruit trees and came to prize instead the messy, purposeless beauty of nature left to its wildest. The Tree is an inspiring, even life-changing book, like Lewis Hyde’s The Gift, one that reaffirms our connection to nature and reminds us of the pleasure of getting lost, the merits of having no plan, and the wisdom of following one’s nose wherever it may lead—in life as much as in art.

    All the seven original books are here reprinted together, with all the original edifying illustrations by B.T.B. and Nicolas Bentley. The original square album format has been retained. The world will be undeniably a worse place when Freud supersedes Belloc, and children and their maladjusted parents are no longer brought up on these moral rhymes. The publishers therefore dare to hope that common sense may prevail and this collected volume remain a standard article of British nursery furniture for hundreds of years to come.

    There is no Table of Contents. Instead, there is a "Track List," making it easy to refer to them to your friends with a, "Hey did you read track seven?!" There are no chapters. Instead, the book is divided into two parts, or as one would say in the 90's, two "sides." Side A holds poetry that touches on all aspects of the human condition like life, death, love, moving on, evolving, growing up, hometowns, family dynamic, life after trauma, and make-ups and breakups. Side B holds the "remixes" of these poems, in the form of blackout poetry, also known as "found poetry." Side B gives the material a fresh twist by creating new poetry out of Side A. There is also a very special surprise at the end of each track. Alicia decided to self publish this effort after leaving her publishing house. She views this book as her "independence" and official separation from that venture. She also drew the front and back cover herself. Alicia is a contributing writer for many blogs and news outlets, including the Huffington Post and multiple Gannett Publications. She writes regularly on drug addiction and how it directly affects families. Because of this, she has chosen to donate 100% of royalties to the Willow Tree Center in New Jersey. www.willowtree.org. Follow Alicia on Instagram: @thealiciacook or check out her website: www.thealiciacook.com.

    In the words of Carolyn Forché, "he is a living treasure."

    It portrays Kabbani's style - direct, spontaneous, musical, using the language of everyday life. He was a campaigner for women's rights, and his verses praise the beauty of the female body, and of love.

    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.

    Every woman should know the feelings of being loved and radiating those feelings back to her mate. This is a beautiful expression of heartfelt emotion using short, gratifying sentiments. If there is a lover in you, you will not get enough of "Her."

    In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.

    It is divided into sections to read when you feel you need them most. Make a cup of tea and let yourself feel.