It’s all right here in these words. Everything you ever need to know. That’s because I use all twenty-six letters, and you can make anything out of those twenty-six letters. So, you see, this book encompasses everything." — PleaseHelpMeRumored to be penned by the brother of the best-selling author of “I Wrote This For You,” this new tour de force in poetry is sure to stab at your heart, or, at least, make you want to.If you loved the international best-selling collection of poetry, “I Wrote This For You,” you’ll probably hate this. But even those admirers of the free-verse artistry of that work will get a laugh from this classic parody. Author and screenwriter Edward Savio put together a spot-on send up of the poetry best-seller with “I Wrote This Crap For You.”It’s a quick, fun read that we hope you enjoy.“It touched my heart and moved me to tears.”“It’s as if he knew my inner thoughts and fears, and—come to think of it my diary is missing.”

    This sparkling creation by multi-award-winning designer David Pelham will amaze and delight all who take the journey through this remarkable book.

    With 12 terrifically spine chilling short stories, this anthology contains contributions from some of the best young horror writing talent out there, and was curated by the editors of the PlayWithDeath.com, the premier destination for online horror entertainment. If you're searching for stories that will frighten you to your very core, look no further. List of Short Story Authors Tom Wortman M. B. Vujačić Manen Lyset Jenny Ashford Kyle Yadlosky G. T. Montgomery Ari Drew Patrick Winters Trevor James Zaple John Teel Dexter Findley Kyle Rader

    I make no prayer. Save us the green In the weed of time.Now is November; In night uneasy Nothing I say. I make no prayer. Save us from the water That washes us away.What do I ponder? All smiled disguise, Lights in cold places, I make no prayer. Save us from air That wears us loosely.The leaf of summer To cold has come In little time. I make no prayer. From earth deliver And the dark therein.Now is no whisper Through all the living. I speak to nothing. I make no prayer. Save us from fire Consuming up and down.Evening with Lee Shore and CliffsSea-shimmer, faint haze, and far out a bird Dipping for flies or fish. Then, when over That wide silk suddenly the shadow Spread skating, who turned with a shiver High in the rocks? And knew, then only, the waves' Layering patience: how they would follow after, After, dogged as sleep, to his inland Dreams, oh beyond the one lamb that cried In the olives, past the pines' derision. And heard Behind him not the sea's gaiety but its laughter.The FishermenWhen you think how big their feet are in black rubber And it slippery underfoot always, it is clever How they thread and manage among the sprawled nets, lines, Hooks, spidery cages with small entrances. But they are used to it. We do not know their names. They know our needs, and live by them, lending them wiles And beguilements we could never have fashioned for them; They carry the ends of our hungers out to drop them To wait swaying in a dark place we could never have chosen. By motions we have never learned they feed us. We lay wreaths on the sea when it has drowned them.

    Ranging from joyous to elegiac, verses touch on love’s delights and follies with elliptical eloquence. Lovely to read aloud or reflect on silently. Photos of African artwork accompany the text.My heart is single and cannot be dividedAnd it is fastened on a single hope;Oh, you, who might be the moon!--Somali love song

    This latest edition includes new notes and exercises, and has a freshly designed, learning-friendly format that makes it more relevant and accessible to students of poetry in Southern Africa.

    The poems from Unscrambled Eggs has a universal appeal, and is true to life in form. Unscrambled Eggs was written over a five year period and is an honest and thought-provoking book that deals with everyday life issues. It is a stirring compilation of poems about living your dream and finding one's purpose. http://www.nadiajanicebrown.com

    Enjoy!

    I hope that this book makes everyone feel what I felt while writing it, and that love is a universal thing, and my story is not unique. And I hope that this makes them see that there is a beyond and that they can come out happy and clean. And, that this makes them braver than they already are, and gives them that little extra push and strength that they probably need

    he is later found in a vegetative state at a railway station, where an old rag-picker takes him to his home where Mumukshu gradually recovers.Eventually, the old man dies leaving Mumukshu alone once again. slowly Mumukshu realizes that the old man was much wiser than what he appeared to be. he soon starts teaching the slum children from where he is eventually invited to serve in well known NGO.With his focus and dedication, Mumukshu becomes a well - known personality, yet he still feels a void inside him. One day almost 25 years post fateful incident of his wife's demise, Mumukshu meets tara, a young reporter, who constantly reminds him of his late wife. As the bond between the two grows, Mumukshu must find out the truth behind the same and decode the mysteries of life as he stands at the crossroads once again.About the Author:Niles is a writer, a poet a philanthropist but most importantly a seeker. His first book " Ladakh: Chronicles from the land of lamas " which was published in 2009. "Beyond The Night. Before the Dawn" is an attempt from him to share his experiences and learnings through the aid of a comprehensible fictional narrative of love story stretching beyond life.

    The poet's imagination of romanticism is captured in the vividly described poems. The poems are written in Hindi and the poet not only narrates the poems in the book but has also sung it in tune. The poems are appealing to the young generation and have been read widely by people in India and abroad

    ”You bear countless stories in yourself”.Said the Mountain and the Man on their first encounter.On every page of this book there is a different story… Some narrated by the Mountain and some by the Man.

    The miracle in the mundane.One day, while browsing an antique store in Helena, Montana, photographer Tyler Knott Gregson stumbled upon a vintage Remington typewriter for sale. Standing up and using a page from a broken book he was buying for $2, he typed a poem without thinking, without planning, and without the ability to revise anything.He fell in love.Three years and almost one thousand poems later, Tyler is now known as the creator of the Typewriter Series: a striking collection of poems typed onto found scraps of paper or created via blackout method. Chasers of the Light features some of his most insightful and beautifully worded pieces of work—poems that illuminate grand gestures and small glimpses, poems that celebrate the beauty of a life spent chasing the light.

    Trained in classical Greek and Latin, Phillips seems to excavate as he forms words into lines, breaking images into tiny parts of thought as he digs for meaning and accuracy. As part of this excavation, Pastoral explores what flesh, wanting, and belief are made of. A finalist for both the National Book Award and the National Book Critics Circle Award, Phillips has produced four collections of accomplished verse in the past few years. In each book, the influence of classical syntax and rhythm can be heard. And with each book, Phillips refines his poetic voice, combining the prayerlike and the erotic, and often elegantly swooping from a whisper to a scream in the space of a few stanzas.This time, the poems fall along a wide range of tones, from italicized commands like "Let me" and "Now" in the poem "Lay Me Down" to a hesitant question, or a deepening well of self-doubt. Phillips is always original, and he's always remembering, even when a poem is firmly written in present tense. He is hyperaware not only of the ancient poets, but also of history, especially the great destructions.In the ominously titled "The Kill," he remembers a familiar daily scene. The speaker analyzes his own love for another in clinical detail that suddenly veers into longing. The way these lines break adds to the sense of tragic fragment, of an ache:      The last time I gave my body up,      to you, I was minded       briefly what it is made of,       what yours is, that      I'd forgotten, the flesh      which always       I hold in plenty no       little sorrow for because -- oh, do      but think on its predicament,      and weep.In just four stanzas, Phillips moves from an image of both love and surrender to a consideration of temporality -- the bald fact that his lover is mortal. This thought of "its predicament" makes him weep, even though death is not a stated issue here.In "The Kill," the last poem in the volume, the speaker anticipates the need to remember. The second poem in the book referred to Pompeii, and the shadow of Pompeii is still resonant as the speaker describes his lover's body, still current and alive despite the title's warning.He remembers a body he has felt before, and probably will feel again -- judging by the present tense of "what yours is." And yet, the speaker here feels the need to freeze that body in time, to memorialize it. The next stanza explains this strong urge to hold on:      We cleave most entirely      to what most we fear      losing. We fear loss      because we understand       the fact of it, its largeness, its      utter indifference to whether      we do, or don't,       ignore it. The "largeness" of loss is what these poems are loath to accept, even as they seek to understand. Each poem tries to break loss down into questions, confessions, prayers, or simple expressions of doubt. While the poems fight against death and inevitable loss, they also seem to seek moral guidance to help with these losses.Nowhere is the search for answers and guidance more apparent than at the endings of these poems, which are frequently questions. Phillips is fond of abrupt, mysterious dashes as conclusions. In his quest for a moral compass, he also quotes from "Lamentations" and draws on familiar Biblical stories. The wanderings of Cain, for example, seem to appear in the backgrounds of poems where man seeks. What's more, the epigraph is from George Herbert, the great poet of faith and the war between faith and flesh. The sense of struggle between opposing ideas is something Phillips incorporates and modernizes into a contemporary parable of carnal love and constant questioning of that love. There's a frequent seesawing in the book, a back-and-forth on the big questions that permeates even the simplest narrative. For example, in "Favor," the second section of a five-part poem called "And Fitful Memories of Pan," Phillips sees a man in the distance:      Even from a distance, I can tell:       a man, clearly.       Gods cast no shadow. The struggle between man and God, between flesh and faith, is hinted at in the first stanza. Man, for Phillips, is an instrument of struggle, a tortured wanderer. The poem continues:      Also, that he tires,       stops to rest, looks like      sleeping, or could use some.       How long he has been,       coming, how long it takes, just      to cross it, the lush      measure that -- all summer -- has      been these well-groomed,       well-fed grounds, the lake      unswum and gleaming, the light      catching, losing      the useless extravagancePhillips basically forms the scene of a man walking into a discussion of man's temporality, the fact that man tires. While what God makes -- "the lake unswum and gleaming" -- needs to make no effort to be beautiful, man exhausts himself just surviving. By the last two stanzas, the speaker concludes that the body must make bets with itself:      Always, the body      wagering --      up, through itself --       Give. What he wants, he shall have.In Phillips's work, man -- though mortal -- still has great power. Man can demand, man can inspire love, and man can pray. In the struggle between man and God, in that constant "wagering," man sometimes wins.&3151;Aviya Kushner

    V. M. Gonzalez has influenced an entire generation of young Philippine writers and has also acquired a devoted international readership. His books, however, are not widely available in this country. The Bread of Salt and Other Stories provides a retrospective selection of sixteen of his short stories (all originally written in English), arranged in order of their writing, from the early 1950s to the present day.This is a powerful collection, both for the unity and universality of the author's subjects and themes and for the distinctive character of his prose style. As Gonzalez remarks in his Preface: "In tone and subject matter, [these stories] might suggest coming full circle - in the learning of one's craft, in finding a language and, finally, in discovering a country of one's own."Gonzalez has traveled widely and has taught the writer's craft in various countries. Nonetheless, his primary metaphor is his colonial island homeland, and his stories are peopled with the farmers and fishermen, the schoolteachers and small-town merchants, "the underclass who constitute the majority in all societies." He portrays, in the men, women, and children of the peasantry, an ordinary and enduring people who live lives of stark dignity against a backdrop of forgotten and unknown gods. A broad humanity suggests itself: "This feeling of having emerged out of a void, or something close to it, is not uncommon, and we face our respective futures predisposed, by an innocence, to prayer and hope."Colonization, Gonzalez feels, has created in Filipinos "a truly submerged people." The stories in The Bread of Salt explore this rich vein at several levels, from the river-crossed wilderness of the kaingin farmers, stoic in the hard face of nature; to the commercial centers of the town dwellers, cut off from the mythic animism of the land; to the America of the contemporary sojourner, exiled from the old ways without the guidance of new traditions. Gonzalez writes: "It was in America that I began to recognize my involvement in the process of becoming a new person . . . of trying to shed my skin as a colonial."Gonzalez's social commentary is implicit throughout his stories. His message is humane, moral, tellingly accurate, and gently ironic; he is neither sentimental nor doctrinaire. His narratives are presented without intrusive explanation, invoking instead the reader's own powers of contemplation and discovery. His strong prose style, spare yet lyrical suggests the cadences of Philippine oral narrative traditions.Each of these sixteen tales is a small masterpiece. The language and its imagery, the characters and their aspirations, all connect powerfully with the reader and serve to illuminate the dreams of exiles and colonials, suggesting what it was like, as a Filipino, to witness the endless interacting of cultures.