As always, she is a poet of dark hilarity and telling social comment. Shifting between poetic and vulgar registers, the surreal imagery of her early work is re-deployed to venture into the badlands of the human psyche. Her poems hold their subjects in an unflinching grip, addressing faces behind the veneer, asking what it is that keeps us alive. These days of prohibition are days of intoxication and inebriation, rehab in a desert and adultery for atheists, until finally Bird edges us out of danger, ‘revving on a wish’.

    This work includes poems written, while the author was working with Michael Mansfield QC on the Stephen Lawrence case and other high profile political trails. It is hard hitting and blackly funny.

    Included in this volume is the work from Eavan Boland's five early volumes of poetry: New Territory, The War Horse, In Her Own Image, Night Feed, and The Journey.The poems from Boland's first book, New Territory, show her to be, at twenty-two, a master of formal verse reflecting Irish history and myth. This collection charts the ways in which Boland's work breaks from poetic tradition, honors it, and reinvents it. Poems like "Anorexic," "Mastectomy," and "Witching" have an intensity reminiscent of Sylvia Plath and Anne Sexton. In later poems, her subjects become more personal, sequencing Boland's life as a woman, poet, and mother. Boland writes, "I grew to understand the Irish poetic tradition only when I went into exile with it," becoming, in effect, "a displaced person / in a pastoral chaos."This collection demonstrates how Boland's mature voice developed from the poetics of inner exile into a subtle, flexible idiom uniquely her own.

    Because I always stutter politely. Because there's always the chatter before the kiss. --from "In Need of Subtitles"In this award-winning debut, Sjohnna McCray movingly recounts a life born out of wartime to a Korean mother and an American father serving during the Vietnam War. Their troubled histories, and McCray's own, are told with lyric passion and the mythic undercurrents of discovering one's own identity, one's own desires. What emerges is a self- and family portrait of grief and celebration, one that insists on our lives as anything, please, but singular. Rapture is an extraordinary first collection, with poems of rare grace and feeling.

    Her voice came back, whispering at first, then screaming. Ceremony for the Choking Ghost contains the sound of that voice returning, bringing poems about grief and its effect on the body, the body politic, memory and, of course, poems about love. From the intensely personal, "How My Family Grieved," to the political, "What Lot's Wife Would Have Said (If She Wasn't a Pillar of Salt)," Finneyfrock engages the reader with the chiseled images of a precise storyteller.

    Not since Allen Ginsberg tried to levitate the Pentagon has American poetry seen the likes of the hallucinatory wit and moral clarity that Hillman brings to Washington in her poems about Congressional Hearings on the Iraq War. Here also--because it is about many kinds of power--is a sequence of twinned lyrics for the moon, governess of tides and night vision, for visible and invisible faces. Violence and the common world, fact and dream, science and magic, intuition and perception are reconfigured as the poet explores matters of spirit in political life and earthly fate. If it is time to weep by the waters of Babylon, it is also time to touch water's living currents. No one is reimagining the possibilities of lyric poetry with more inventiveness; this is masterful work by one of our finest poets.

    Fountain’s voice is at once deep and loose, enacting the dawning of spiritual insight, but without leaving the daily world, matching the feeling of the “pure holiness in motherhood” with the “thuds the giant dumpsters make behind the strip mall when they’re tossed back to the pavement by the trash truck.” In these wise, accessible, deeply emotional poems, she captures a contemporary longing for spiritual meaning that’s wary of prepackaged wisdom—a longing answered most fully by attending to the hustle and bustle of everyday life.

    And like his best work to date, these poems create new experiences with language owed to Jackson’s willingness to once again seek a rhythmic sound that expresses the unique realities of the twenty-first century with humor and understanding. Whether set in Nairobi, Madrid, or Greece, the poems are sensuously evocative and unapologetically with-it, in their effort to build community across borders of language and style.From Urban Renewal, “The Dadaab Suite”:I have come to Dadaab like an actoron a press release, unprepared for the drained facesof famine-fleeing refugees, my craft’s glamourdimmed by hundreds of infant graves, childrenwhose lolling heads’ final drop landed on their mothers’backs like soft stones. What beauty can I spell inthis swelter of dust?

    Self and it (word and particle) are ritual and rigmarole, song-and-dance and long distance call into whatever dark matter might exist. How could a self not be selfish? Armantrout accesses the strangeness of everyday occurrence with wit, sensuality, and an eye alert to underlying trauma, as in the poem Price Points where a man conducts an imaginary orchestra but gets no points for originality. In their investigations of the cosmically mundane, Armantrout's poems use an extraordinary microscopic lens--even when she's glancing backwards from the outer reaches of space. An online reader's companion is available at http: //raearmantrout.site.wesleyan.edu.

    The exquisitely rendered poems in this, her fourth collection, reach back to an early affinity for proverbs and riddles and the proto-poetry found in those forms. Taking on epic subjects—time and memory, metamorphosis and indeterminacy, the complicated nature of beauty, wordless states of being—each poem explores a bright, crisp, singular moment of awareness or shock or revelation.  Purpura reminds us that short poems, never merely brief nor fragmentary, can transcend their size, like small dogs, espresso, a drop of mercury.From the Trade Paperback edition.

    I’ll hold your hand in my own,” one ghost says. “I’ll tell you you were good to me.” Like Dante before her, Stone positions herself as the living poet passing through and observing the land of the dead. She imagines a feminist Limbo where women run the show and create a space to navigate the difficulties endured in life. With a nod to her grandmother Ruth Stone’s poem “The Mobius Strip of Grief,” Stone creates a labyrinthine underworld as a way to confront and investigate complicated family relationships in the hopes of breaking the never-ending cycle of grief.

    His most recent volumes of poetry are Rooms Are Never Finished and The Country Without a Post Office. He is also the editor of Ravishing Disunities: Real Ghazals in English.

    The ghazal form is well-known in Islamic culture, but only now finding its way into the literary culture of the West. Each stanza of three lines amounts to a finished poem. “God crouches at night over a single pistachio. / The vastness of the Wind River Range in Wyoming / Has no more grandeur than the waist of a child.”The ghazal’s compacted energy is astounding. In a period when much American poetry is retreating into prosaic recordings of daily events, these poems do the opposite. My Sentence Was a Thousand Years of Joy is Robert Bly’s second book of ghazals. The poems have become more intricate and personal than they were in The Night Abraham Called to the Stars, and the leaps even more bold. This book includes the already famous poem against the Iraq War, “Call and Answer”: “Tell me why it is we don¹t lift our voices these days / And cry over what is happening.” The poems are intimate and yet reach out toward the world: the paintings of Robert Motherwell, the intensity of Flamenco singers, the sadness of the gnostics, the delight of high spirits and wit.Robert Bly is writing the best poems of his life, and this book reestablishes his position as one of the greatest poets of our era. After many years of free verse in American poetry, years which have been very fertile, the inventive ghazal helps the imagination to luxuriate in a form once more. We are seeing a poetry emerge that is recovering many of the great intensities that modern art and poetry has aimed at and achieved in earlier generations.

    West covers the main events in superstar Kanye West's life while also following the poet on her year spent researching, writing, and pregnant. The book explores how we are drawn to celebrities--to their portrayal in the media--and how we sometimes find great private meaning in another person's public story, even across lines of gender and race. Blake's aesthetics take her work from prose poems to lineated free verse to tightly wound lyrics to improbably successful sestinas. The poems fully engage pop culture as a strange, complicated presence that is revealing of America itself. This is a daring debut collection and a groundbreaking work. An online reader's companion will be available at http: //sarahblake.site.wesleyan.edu.

    40 Haiku in English inspired by the practice of Zen Buddhism and Zazen (seated meditation) in particular.I hope you enjoy!