These fifty lucid, urgent poems range in tone from lyric to ironic to meditative to prophetic, and in subject from the personal to the political, viewed in its broadest sense. They investigate the mysterious writing of poetry itself, as well as the passage of time and our shared sense of mortality. Brave and compassionate, The Door interrogates the certainties that we build our lives on, and reminds us once again of Margaret Atwood’s unique accomplishments as one of the finest and most celebrated writers of our time.

    

    Ben Belitt, a distinguished poet in his own right, is widely regarded as the leading translator of Neruda into English. Here he has given us a Neruda as fecund and engaged as ever, ceaselessly spinning the strands of his great, seamless life's work.

    By night, she creates her own intricately detailed coloring books for adults, filling the pages with objects that catch her eye. There's plenty of inspiration in her new apartment--a beautiful carriage house belonging to Professor John Maxwell, Florrie's boss. He offers the property to Florrie rent-free with one condition--she must move in immediately to prevent his covetous sister and nephew from trying to claim it.When the professor's nephew, Delbert, arrives, he proves just as sketchy as Florrie feared. But the following morning, Delbert has vanished. It's not until she visits the third floor of the store that Florrie makes a tragic discovery--there's a trap door in the landing, and a dead Delbert inside. The esteemed Professor Maxwell is an obvious suspect, but Florrie is certain this case isn't so black and white. Doodling clues, she begins to consider other colorful characters on the scene, all with a motive for murder. With a killer drawing closer, Florrie will need to think outside the lines . . . before death makes his mark again.

    Filled with nostalgia, love, heartbreak, and the author's signature wry examinations of mental health, this book helps explain what lives inside us, what we struggle to define. Written on the road over two years of touring, The Future is rugged, genuine, and relatable. Grabbing attention like gravity, Hilborn reminds readers that no matter how far away we get, we eventually all drift back together. These poems are fireworks for the numb. In the author's own words, The Future is a blue sky and a full tank of gas, and in it, we are alive.

    But when her ten-year relationship implodes, Lucy realizes that the plot of her life is in need of a serious rewrite. Calling on her aunt Ellen, Lucy hopes that a little fun in the Outer Banks sun—and some confections from her cousin Josie’s bakery—will help clear her head. But her retreat quickly turns into an unexpected opportunity when Aunt Ellen gets her involved in the lighthouse library tucked away on Bodie Island. Lucy is thrilled to land a librarian job in her favorite place in the world. But when a priceless first edition Jane Austen novel is stolen and the chair of the library board is murdered, Lucy suddenly finds herself ensnared in a real-life mystery—and she’s not so sure there’s going to be a happy ending....

    Like a literal road atlas, the poems carry lines and themes from one to the next. Like Atlas holding up the world, they hold patterns of all kinds aloft with an attention that transforms. The poems also are an atlas of the known world, capturing the way events repeat across time and place, as in one poem that links the image of her sister, pausing in her work as housekeeper, with the contours of a maid in a Vermeer painting and a woman just "made over" on that day's episode of Oprah. Vandenberg's poems use family artifacts, memory, and imagination to plot the intersections of love, death, history, art, and desire. In the first section, "Trade Routes," about connections, each poem moves back one generation to investigate the ways events reverberate across time. The second section, "The Red Fields of Lisse (A Love Story)," focuses on a former partner, a hemophiliac with AIDS, and tulips. The third section, "Catalog of Want," contains poems about desire in various guises. The last section, "A Place Ten Years Away," reexamines the themes of the first three sections.

    When struggling perfumer Sophie Duval shelters Miss Kelly in her boutique, fending off a persistent British press photographer, James Henderson, a bond is forged between the two women and sets in motion a chain of events that stretches across thirty years of friendship, love, and tragedy.James Henderson cannot forget his brief encounter with Sophie Duval. Despite his guilt at being away from his daughter, he takes an assignment to cover the wedding of the century, sailing with Grace Kelly’s wedding party on the SS Constitution from New York. In Monaco, as wedding fever soars and passions and tempers escalate, James and Sophie—like Princess Grace—must ultimately decide what they are prepared to give up for love.

    Novelist Jorie Price doesn't believe in the existence of shape-shifting creatures or true love. She leads a solitary life, and the paranormal romances she writes are pure fiction for her. Griffin Westmore knows better - at least about one of these two things. She doesn't believe in love either, but she's one of the not-so-fictional shape-shifters. She's also a Saru - an elite soldier, investigator, and if need be an assassin with the mission to protect the shape-shifters' secret existence at any cost. When Jorie gets too close to the truth in her latest shape-shifter romance, Griffin is sent to investigate - and if necessary to destroy the manuscript before it's published and to kill the writer.

    

    When Sarah Perry was twelve, she saw a partial eclipse of the sun, an event she took as a sign of good fortune for her and her mother, Crystal. But that brief moment of darkness ultimately foreshadowed a much larger one: two days later, Crystal was murdered in their home in rural Maine, just a few feet from Sarah’s bedroom.   The killer escaped unseen; it would take the police twelve years to find him, time in which Sarah grew into adulthood, struggling with abandonment, police interrogations, and the effort of rebuilding her life when so much had been lost. Through it all she would dream of the eventual trial, a conviction—all her questions finally answered. But after the trial, Sarah’s questions only grew. She wanted to understand her mother’s life, not just her final hours, and so she began a personal investigation, one that drew her back to Maine, taking her deep into the abiding darkness of a small American town.   Told in searing prose, After the Eclipse is a luminous memoir of uncomfortable truth and terrible beauty, an exquisite memorial for a mother stolen from her daughter, and a blazingly successful attempt to cast light on her life once more.

    As a result, churches today are filled with people who believe they are Christians . . . but aren’t. We want to be disciples as long as doing so does not intrude on our lifestyles, our preferences, our comforts, and even our religion.Revealing a biblical picture of what it means to truly be a Christian, Follow Me explores the gravity of what we must forsake in this world, as well as the indescribable joy and deep satisfaction to be found when we live for Christ.The call to follow Jesus is not simply an invitation to pray a prayer; it’s a summons to lose your life—and to find new life in him. This book will show you what such life actually looks like.

    

    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."

    The poems take shape in the space where public and private mourning converge, finding there magic and music alongside brutality and trauma. Griffiths braids a moving narrative of identity and its possibilities for rebirth through image and through loss.A photographer as well as a poet, Griffiths accompanies the fierce rhythm of her verses with a series of ghostly, imaginative self-portraits, blurring the body’s internal wilderness with landscapes alive with beauty and terror. The collision of text and imagery offers an associative autobiography, in which narratives of language, absence, and presence are at once saved, revised, and often erased. Seeing the Body dismantles personal and public masks of silence and self-destruction to visualize and celebrate the imperfect freedom of radical self-love.