River Hymns is the lyrical journey of a young black man’s spiritual reckoning with his family history.

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    Yellow Tulips is a gathering from four decades of work by a writer described by the Observer as 'the most talented poet of his generation'.Winner of both the Queen's Gold Medal and the Whitbread Prize for Poetry, James Fenton has given readers some of the most memorable lyric verse of the past decades, from the formal skill that marked his debut, Terminal Moraine, to the dramatic and political monologues of The Memory of War and Children in Exile, through to the unforgettable love poems of Out of Danger.This assembly, made by the author himself, includes a generous offering of his most recent, uncollected work: it is an essential selection by, as Stephen Spender put it, 'a brilliant poet of technical virtuosity'.

    . . These poems literally vibrate with Kearney's precocious intellect and passion. They hum, they bang, they bite. What else can I say? I have never encountered poetry like this before."—Terrance Hayes

    Here in Bonfire Opera, grief and Eros grapple in the same domain. A bullet-hole through the heart, a house full of ripe persimmons, a ghost in a garden. Coyotes cry out on the hill, and lovers find themselves kissing, “bee-stung, drunk” in the middle of road. Here, the dust is holy, as is the dark, unknown. These are poems that praise the impossible, wild world, finding beauty in its wake.  Excerpt from “Bonfire Opera”   In those days, there was a woman in our circle who was known, not only for her beauty, but also for taking off all her clothes and singing opera. And sure enough, as the night wore on and the stars emerged to stare at their reflections on the sea, and everyone had drunk a little wine, she began to disrobe, loose her great bosom and the tender belly, pale in the moonlight, the Viking hips, and to let her torn raiment fall to the sand as we looked up from the flames.

    S. Poet Laureate Ted Kooser at the top of his imaginative and storytelling powers. Here are the richly metaphorical, imagistically masterful, clear and accessible poems for which he has become widely known. Kooser writes for an audience of everyday readers and believes poets "need to write poetry that doesn't make people feel stupid." Each poem in Red Stilts strives to reveal the complex beauties of the ordinary, of the world that's right under our noses. Right under Kooser's nose is rural America, most specifically the Great Plains, with its isolated villages, struggling economy, hard-working people and multiple beauties that surpass everything wrecked, wrong, or in error.

    The collection includes:RUPERT BROOKEPEACESAFETYTHE DEADTHE DEADTHE SOLDIEREDWARD THOMASADLESTROPTEARSTHE OWLRAINTHE CHERRY TREESAS THE TEAM'S HEAD-BRASSSIEGFRIED SASSOON"THEY"THE REAR-GUARDI STOOD WITH THE DEADSUICIDE IN TRENCHESTHE GENERALHOW TO DIEGLORY OF WOMENTHEIR FRAILTYDOES IT MATTER?SURVIVORSEVERYONE SANGTO ANY DEAD OFFICERSICK LEAVEIVOR GURNEYTO HIS LOVETHE SILENT ONEISAAC ROSENBERGBREAK OF DAY IN THE TRENCHESLOUSE HUNTINGON RECEIVING NEWS OF THE WARDEAD MAN'S DUMPRETURNING, WE HEAR THE LARKSWILFRED OWENANTHEM FOR DOOMED YOUTHAPOLOGIA PRO POEMATE MEODULCE ET DECORUM ESTSTRANGE MEETINGFUTILITYDISABLEDMINERSS.I.W.

    Wildly written in a sleep deprived haze, these pages contain an assortment of subject matter and styles all put together into one- which just feels so incredibly human..

     "El Rayo de Luna" is one of his short stories.

    In this rare volume of poetry, Aldous Huxley is characteristically, uncompromisingly erudite; yet surprisingly forceful, passionate, and erotic.

    

    Luxuriously illustrated with 92 watercolors, it's a wonderful introduction to Alice's adventures as well as a splendid volume for collectors. Available for sale in the United States only.

    He is witness to their struggle as modern Indians to hold on to a semblance of truth and sanity in the face of alienation, squalor, violence, and loss of hope. Nagarkar's explosive style and irreverent approach caused an equally explosive reaction when Seven Sixes was first published in 1974. Critics have struggled to reconcile its apparent nihilism with its underlying sense of optimism.

    

    “In the night I brush / my teeth with a razor,” he tells us, in one of the collection’s piercing two-line poems. Capturing the strange silence of bereavement (“Not the storm / but the calm / that slays me”), Kevin Young acknowledges, even celebrates, life’s passages, his loss transformed and tempered in a sequence about the birth of his son: in “Crowning,” he delivers what is surely one of the most powerful birth poems written by a man, describing “her face / full of fire, then groaning your face / out like a flower, blood-bloom,/ crocused into air.” Ending this book of both birth and grief, the gorgeous title sequence brings acceptance, asking “What good/are wishes if they aren’t / used up?” while understanding “How to listen / to what’s gone.” Young’s frank music speaks directly to the reader in these elemental poems, reminding us that the right words can both comfort us and enlarge our understanding of life’s mysteries.