When his true love Tammy Winslow died saving his life, Jonathan Randall had only one reason left for existing: his baby daughter Sarah. But Sarah's great-grandfather, powerful millionaire Alan Spaulding, was obsessed with bringing her up himself. Faking his death, Jonathan fled Springfield, leaving only his mother Reva Shayne aware he and Sarah were still alive. After being on the run for months, Jonathan comes to the sleepy town of Tourmaline, California, with no intention of staying. But ten-month-old Sarah seems strangely happy here, and Jonathan himself feels an inexplicable pull toward the town. It's almost as if Tammy's ghost were whispering to him that he should stay for a while. But life is hard for a bad boy trying to turn good, until a local young woman comes into his life. Aubrey Cross isn't quite sure what attracts her to this stranger in Tourmaline. Perhaps it's his dark good looks; perhaps it's because she too has always felt as if she doesn't belong in Tourmaline, even though her father is the popular town sheriff. Aubrey alone knows that this pillar of the community is in reality a sadistic abuser. And, of course, with a past like Jonathan's, it's no surprise that life doesn't stay peaceful in Tourmaline for long. Sheriff Zeke Cross is sure there are some secrets buried, and he's not going to rest until he uncovers them. Can Reva protect Jonathan and Sarah before they're discovered by the dangerous Alan Spaulding? Featuring some of Guiding Light's favorite characters, Jonathan's Story is the passionate tale of how Jonathan may have finally found a second chance for true love...but who knows better than Jonathan how quickly everything you love can be ripped away from you?

    In myth Herakles is an embodiment of manly violence who returns home after years of making war on enemies and monsters (his famous “Labors of Herakles”) to find he cannot adapt himself to a life of peacetime domesticity. He goes berserk and murders his whole family. Suicide is his next idea. Amazingly, this does not happen. Due to the intervention of his friend Theseus, Herakles comes to believe he is not, after all, indelibly stained by his own crimes, nor is his life without value. It remains for the reader to judge this redemptive outcome.      “I think there is no such thing as an innocent landscape,” said Anselm Kiefer, painter of forests grown tall on bones.

    More than a collection of poems, this book serves as a survival guide for anyone who has ever been a daughter. Knotted with gritty tales of addiction, mental illness, and girlhood, Redhead and the Slaughter King is the prequel to every time someone asked the question, “how the hell did I end up here?”

    Written by a young man in detention, the prose moves from prison life, to adolescent memories, to frightening hallucinations, and what emerges is a portrait of life in Saddam Hussein’s Iraq.In the tradition of Kafka’s The Trial or Orwell’s 1984, I’jaam offers insight into life under an oppressive political regime and how that oppression works. This is a stunning debut by a major young Iraqi writer-in-exile.Sinan Antoon has been published in leading international journals and has co-directed About Baghdad, an acclaimed documentary about Iraq under US occupation.

    Her adjustment to a new culture includes shocking doses of American-style racial discrimination and Nhambu’s discovery that she must learn to be a Black American. She graduates from college, thus fulfilling her dream of becoming a teacher, and teaches high school in the inner city. She marries, has two children, and establishes herself in the American way of life. Then a visit to Africa, and especially to Tanzania, reawakens the drumbeats and dancing that she carries in her soul. On her return home, she teaches Swahili and African Studies, performs African dance at schools, and creates Aerobics With Soul®, a fitness workout based on African dance. She both finds and creates the family she longed for as a child and connects with her unknown background. The first book of the trilogy, Africa’s Child, was released in 2016. The final book of her memoir series—Drum Beats, Heart Beats—reveals more of Nhambu’s life as she searches for her father.

    He delves into his youth to analyze its repercussions.

    Likewise Swensen’s lyrics, which, with elliptical phrasing and play between visual and aural, change the act of seeing—and reading—offering glimpses of the spirit (or ghost) that enters a poem where the rational process breaks down.From “The Invention of Streetlights”Certain cells, it’s said, can generate light on their own.There are organisms that could fit on the head of a pin.and light entire rooms. .Throughout the Middle Ages, you could hire a man.on any corner with a torch to light you home. were lamps made of horn.and from above a loom of moving flares, we watched.Notre Dame seem small. .Now the streets stand still. .By 1890, it took a pound of powdered magnesium.to photograph a midnight ball.“Goest, sonorous with a hovering ‘ghost’ which shimmers at the root of all things, is a stunning meditation—even initiation—on the act of seeing, proprioception, and the alchemical properties of light as it exists naturally and inside the human realm of history, lore, invention and the ‘whites’ of painting. Light becomes the true mistress and possibly the underlying language of all invention. Swensen’s poetry documents a penetrating ‘intellectus’—light of the mind—by turns fragile, incandescent, transcendent.”—Anne Waldman

    Showing us the war as we have never seen it before, here is a world not only of soldiers and assassins, hostages and car bombers, refugees and terrorists, but also of madmen and prophets, angels and djinni, sorcerers and spirits. Blending shocking realism with flights of fantasy, The Corpse Exhibition offers us a pageant of horrors, as haunting as the photos of Abu Ghraib and as difficult to look away from, but shot through with a gallows humor that yields an unflinching comedy of the macabre. Gripping and hallucinatory, this is a new kind of storytelling forged in the crucible of war.

    Forcibly removed from the ancient village of Ein Hod by the newly formed state of Israel in 1948, the Abulhejas are moved into the Jenin refugee camp. There, exiled from his beloved olive groves, the family patriarch languishes of a broken heart, his eldest son fathers a family and falls victim to an Israeli bullet, and his grandchildren struggle against tragedy toward freedom, peace, and home. This is the Palestinian story, told as never before, through four generations of a single family. The very precariousness of existence in the camps quickens life itself. Amal, the patriarch's bright granddaughter, feels this with certainty when she discovers the joys of young friendship and first love and especially when she loses her adored father, who read to her daily as a young girl in the quiet of the early dawn. Through Amal we get the stories of her twin brothers, one who is kidnapped by an Israeli soldier and raised Jewish; the other who sacrifices everything for the Palestinian cause. Amal’s own dramatic story threads between the major Palestinian-Israeli clashes of three decades; it is one of love and loss, of childhood, marriage, and parenthood, and finally of the need to share her history with her daughter, to preserve the greatest love she has. The deep and moving humanity of Mornings in Jenin forces us to take a fresh look at one of the defining political conflicts of our lifetimes.

    In this collection of his stories (each of which has a story behind it), you'll read about two retired spiritual leaders who experience a miracle in their nursing home, a gay relationship that must end between an American man and a Thai student, the astonishing adventures of an early mid-life failure, the thrilling chase one gay man undertakes for another intriguing, confusing, mysterious man, and a mind-blowing time-travel misadventure involving a man and a dog, as well as a few other surprises. This genre bending collection will captivate you. You might even enjoy the stories. Adam Carpenter Welles works in media in a major city in the Southeastern United States.

    This unique anthology offers a more comprehensive look at the poems of Christopher Marlowe, England's first great poet and playwright.

    Extracting the Stone of Madness: Poems 1962–1972 comprises all of her middle to late work, as well as a selection of posthumously published verse. Obsessed with themes of solitude, childhood, madness and death, Pizarnik explored the shifting valences of the self and the border between speech and silence. In her own words, she was drawn to "the suffering of Baudelaire, the suicide of Nerval, the premature silence of Rimbaud, the mysterious and fleeting presence of Lautréamont,” as well as to the “unparalleled intensity” of Artaud’s “physical and moral suffering.”

    This poem consists of five ten-line stanzas and resembles the form of most of the companion poems in the volume. The poem’s title comes from William Shakespeare’s Macbeth (1606), when Macduff mourns the loss of his wife and children. In March of 1959, Anne Sexton’s mother died, followed in June of the same year by Sexton’s father. “All My Pretty Ones” is a monologue addressed to Sexton’s dead father as she sorts through her parents’ possessions.In the first stanza, Sexton looks over her father’s meager “leftovers”: a key, some stock certificates, clothing, a car, his will, and a box of photographs. She is recording a moment that many children must endure: the closing of a parent’s affairs, the moment when the living children must literally discard artifacts not only of their parents’ lives but also of their own. She sees her task as one of helping her father to free himself from the tangles of his now past life. The stanza concludes with her decision to throw away the items that she has subsequently found. [...]

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.

    Eliot, Elizabeth Bishop, John Ashbery -- and Jorie Graham. The New Yorker places Ms. Graham in this distinguished line of poets, heralding the Pulitzer Prize winner as a profound voice in American poetry. Now, in her eighth collection, she further enhances her reputation with a book-length sequence of verse that is a stunning work of grandeur.The New Republic writes, "for 'swarm,' in other words...read 'be born again.' Graham is writing about a spiritual turning point, a new beginning.... Beauty -- that is, the pure sense-perception which has long been a concern for Graham -- is no longer the most important criterion. Now goodness is...[and] the idea of submission, of obedience, without understanding: one must 'yield' before 'hearing the reason' for yielding."