A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    The American Midwest is a place beyond definition, whose very boundaries are a question. It’s a place of rolling prairies and towering pines, where guns in bars and trucks on blocks are as much a part of the landscape as rivers and lakes and farms. Where girls are girls and boys are boys, where women are mothers and wives, where one is taught to work hard and live between the lines. But what happens when those lines become increasingly unclear? When a girl, like the land that raised her, finds herself neither here nor there?In this intrepid collection of essays, Melissa Faliveno traverses the liminal spaces of her childhood in working-class Wisconsin and the paths she’s traveled since, compelled by questions of girlhood and womanhood, queerness and class, and how the lands of our upbringing both define and complicate us even long after we’ve left. Part personal narrative, part cultural reportage, Tomboyland navigates midwestern traditions, mythologies, landscapes, and lives to explore the intersections of identity and place. From F5 tornadoes and fast-pitch softball to gun culture, strange glacial terrains, kink party potlucks, and the question of motherhood, Faliveno asks curious, honest, and often darkly funny questions about belonging and the body, isolation and community, and what we mean when we use words like woman, family, and home.

    For the first time, the complete collection of Maya Angelou's published poems-including "On the Pulse of Morning"-in a permanent collectible, handsome hardcover edition.

    Chilling and witty, prescient and personal, delectable and tart, these highly imaginative, vintage Atwoodian mini-fictions speak on a broad range of subjects, reflecting the times we live in with deadly accuracy and knife-edge precision.In pieces ranging in length from a mere paragraph to several pages, Atwood gives a sly pep talk to the ambitious young; writes about the disconcerting experience of looking at old photos of ourselves; gives us Horatio's real views on Hamlet; and examines the boons and banes of orphanhood. Bring Back Mom: An Invocation; explores what life was really like for the "perfect" homemakers of days gone by, and in The Animals Reject Their Names she runs history backward, with surprising results.Chilling and witty, prescient and personal, delectable and tart, The Tent is vintage Atwood, enhanced by the author's delightful drawings.

    He invokes the words of Whitman in “Vivas to Those Who Have Failed,” a cycle of sonnets about the Paterson Silk Strike and the immigrant laborers who envisioned an eight-hour workday. At the heart of this volume is a series of ten poems about the death of the poet’s father. “El Moriviví” uses the metaphor of a plant that grows in Puerto Rico to celebrate the many lives of Frank Espada, community organizer, civil rights activist, and documentary photographer, from a jailhouse in Mississippi to the streets of Brooklyn. The son lyrically imagines his father’s return to a bay in Puerto Rico: “May the water glow blue as a hyacinth in your hands.” Other poems confront collective grief in the wake of the killings at the Sandy Hook Elementary School and police violence against people of color: “Heal the Cracks in the Bell of the World” urges us to “melt the bullets into bells.” Yet the poet also revels in the absurd, recalling his dubious career as a Shakespearean “actor,” finding madness and tenderness in the crowd at Fenway Park. In exquisitely wrought images, Espada’s poems show us the faces of Whitman’s “numberless unknown heroes.”

    Blythe Baird deftly and uniquely charts a course through various modes of womanhood and women's bodies. Through love, loss, and the struggles of disordered eating, If My Body Could Speak uses sharp narratives and visceral imagery to get to the heart of a many-layered existence, speaking to many generations at once.

    The poems compiled inside this often hilarious, sometimes heartbreaking volume are reprinted verbatim from the Missed Connections section of craigslist, with only line and stanza breaks added.-Knock Knock books: fun gifts for internet friends, IRL friends, or missed connections-Paperback; 4 x 6 inches; 136 pages-Written by Alan Feuer and published by Knock Knock

    Poetry is said to feed the soul, each poem a delicious morsel. When read aloud, the best poems provide a particular joy for the mouth. Poems about food make these satisfactions explicit and complete.Of course, pages can and have been filled about food's elemental pleasures. And we all know food is more than food: it's identity and culture. Our days are marked by meals; our seasons are marked by celebrations. We plant in spring; harvest in fall. We labor over hot stoves; we treat ourselves to special meals out. Food is nurture; it's comfort; it's reward. While some of the poems here are explicitly about the food itself: the blackberries, the butter, the barbecue--all are evocative of the experience of eating.Many of the poems are also about the everything else that accompanies food: the memories, the company, even the politics. Kevin Young, distinguished poet, editor of this year's Best American Poetry, uses the lens of food - and his impeccable taste - to bring us some of the best poems, classic and current, period.Poets include: Elizabeth Alexander, Elizabeth Bishop, Billy Collins, Mark Doty, Robert Frost, Allen Ginsberg, Louise Gluck, Seamus Heaney, Tony Hoagland, Langston Hughes, Galway Kinnell, Frank O'Hara, Sharon Olds, Mary Oliver, Adrienne Rich, Theodore Roethke, Matthew Rohrer, Charles Simic, Tracy K. Smith, Gertrude Stein, Wallace Stevens, Mark Strand, Kevin Young

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    This pocket-sized book presents the most essential poems in his dispensary: those which, again and again, have really shown themselves to work. Whether you are suffering from loneliness, lack of courage, heartbreak, hopelessness, or even from an excess of ego, there is something here to ease your pain.

    Twenty-Three Leading Feminist Writers on Protest and SolidarityWhen 53 percent of white women voted for Donald Trump and 94 percent of black women voted for Hillary Clinton, how can women unite in Trump's America? Nasty Women includes inspiring essays from a diverse group of talented women writers who seek to provide a broad look at how we got here and what we need to do to move forward.Featuring essays by REBECCA SOLNIT on Trump and his "misogyny army," CHERYL STRAYED on grappling with the aftermath of Hillary Clinton's loss, SARAH HEPOLA on resisting the urge to drink after the election, NICOLE CHUNG on family and friends who support Trump, KATHA POLLITT on the state of reproductive rights and what we do next, JILL FILIPOVIC on Trump's policies and the life of a young woman in West Africa, SAMANTHA IRBY on racism and living as a queer black woman in rural America, RANDA JARRAR on traveling across the country as a queer Muslim American, SARAH HOLLENBECK on Trump's cruelty toward the disabled, MEREDITH TALUSAN on feminism and the transgender community, and SARAH JAFFE on the labor movement and active and effective resistance, among others.

    It is essentially a conversation among hundreds of women of all nationalities—famous, anonymous, religious, secular, married, single, young, old—on the subject of clothing, and how the garments we put on every day define and shape our lives. It began with a survey. The editors composed a list of more than fifty questions designed to prompt women to think more deeply about their personal style. Writers, activists, and artists including Cindy Sherman, Kim Gordon, Kalpona Akter, Sarah Nicole Prickett, Tavi Gevinson, Miranda July, Roxane Gay, Lena Dunham, and Molly Ringwald answered these questions with photographs, interviews, personal testimonies, and illustrations. Even our most basic clothing choices can give us confidence, show the connection between our appearance and our habits of mind, express our values and our politics, bond us with our friends, or function as armor or disguise. They are the tools we use to reinvent ourselves and to transform how others see us. Women in Clothes embraces the complexity of women’s style decisions, revealing the sometimes funny, sometimes strange, always thoughtful impulses that influence our daily ritual of getting dressed.

    The beginning is marked by a vivid memory, which I can reconstruct down to the last detail. Before, there is nothing, and after, everything is an extension of the same vivid memory, continuous and unbroken, including the intervals of sleep, up to the point where I took the veil ." So starts Cesar Aira's astounding "autobiographical" novel. Intense and perfect, this invented narrative of childhood experience bristles with dramatic humor at each stage of growing up: a first ice cream, school, reading, games, friendship. The novel begins in Aira's hometown, Coronel Pringles. As self-awareness grows, the story rushes forward in a torrent of anecdotes which transform a world of uneventful happiness into something else: the anecdote becomes adventure, and adventure, fable, and then legend. Between memory and oblivion, reality and fiction, Cesar Aira's How I Became a Nun retains childhood's main treasures: the reality of fable and the delirium of invention.A few days after his fiftieth birthday, Aira noticed the thin rim of the moon, visible despite the rising sun. When his wife explained the phenomenon to him he was shocked that for fifty years he had known nothing about "something so obvious, so visible." This epiphany led him to write How I Became a Nun. With a subtle and melancholic sense of humor he reflects on his failures, on the meaning of life, and the importance of literature.

    Gay returns with Difficult Women, a collection of stories of rare force and beauty, of hardscrabble lives, passionate loves, and quirky and vexed human connection.The women in these stories live lives of privilege and of poverty, are in marriages both loving and haunted by past crimes or emotional blackmail. A pair of sisters, grown now, have been inseparable ever since they were abducted together as children, and must negotiate the elder sister's marriage. A woman married to a twin pretends not to realize when her husband and his brother impersonate each other. A stripper putting herself through college fends off the advances of an overzealous customer. A black engineer moves to Upper Michigan for a job and faces the malign curiosity of her colleagues and the difficulty of leaving her past behind. From a girls’ fight club to a wealthy subdivision in Florida where neighbors conform, compete, and spy on each other, Gay delivers a wry, beautiful, haunting vision of modern America reminiscent of Merritt Tierce, Jamie Quatro, and Miranda July.I will follow you --Water, all its weight --The mark of Cain --Difficult women --FLORIDA --La negra blanca --Baby arm --North country --How --Requiem for a glass heart --In the event of my father's death --Break all the way down --Bad priest --Open marriage --A pat --Best features --Bone density --I am a knife --The sacrifice of darkness --Noble things --Strange gods

    Narrated by a speaker in mourning marked as an at-risk juvenile, psychologically troubled, an offender, expelled and sent to alternative school for adolescents with behavioral issues, and eventually, a psychiatric hospital, she survives the school to prison pipeline, the immigrant working class condition, grueling low- pay service jobs, conservative classism against Latinos in Texas, queerness, assimilation, and life wrapped up in frivolous citations, fines, and penalties. The traumatic catalyst for the long line of trouble begins with the death of a beloved young grandmother from preventable cervical cancer—another violence of systemic racism and sexism that prevents regular reproductive and sexual health care to poor immigrant communities—and the subsequent deaths of other immigrant family members who are mourned in the dissociative states amidst the depressive trauma that opens the book. The dissociative states that mark the middle—a surreal kind of shadowland where the narrator encounters her animal self and ancestors imagined as animals faces brutal surreal challenges on the way back to life beyond trauma—is a kind of mictlan, reimagined as a state of constant mourning that challenges American notions of "healing" from trauma, and rather acknowledges sadness, mourning, and memory as a necessary state of constant awareness to forge a "way back" toward a broader healing of earth, time, body, history.