Speaking in the unique lyrical voice that he called his "Ohioan," Wright created poems of immense sympathy for sociey's alienated and outcast figures and also of ardent wonder at the restorative power of nature.Selected Poems fills a significant gap in Wright's bibliography: that of an accessible, carefully chosen collection to satisfy both longtime readers and those just discovering his work. Edited and with an introduction by Wright's widow, Anne, and his close friend the poet Robert Bly, who also wrote an introduction, Selected Poems is a personal, deeply considered collection of work with pieces chosen from all of Wright's books. It is an overdue--and timely--new view of a poet whose life and work encompassed the extremes of American life.

    

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    "[Thomas Lynch's] poems . . . are as stark and graceful as geese lifting off backwater. The poems trace from the rural midwest to London and County Clare, a quiet elegy of loss and testament. But then Lynch is by trade a mortician, and by craft a bard."—Amazon.com "[Lynch] evinces a steady wisdom drawn from years of passionate attention to daily experience."—Seattle Weekly

    He's set to wrestle and study creative writing at Columbia University in New York. These poems are a look into his early experiences with love and loss, an introspective coming of age tale told in verse.

    One of the UK’s most exciting up-and-coming hip-hop artists, Scroobius Pip, is a master of the spoken word lyric.From his childhood musings in the school playground to his feelings on the rat race, Pip has selected from his online fan collective artistic collaborations that bring the power of his lyrics to the printed page, creating an innovative multimedia collection of modern poetry.

    In the singular landscape of Matthew Rohrer's first book of poems, the weather, the food, even the household appliances come to life. "A few pages into this book," says the Minneapolis City Pages, "and you'll start glancing sideways at the terrain, which . . . looks suddenly vital." These quirky poems entertain and delicately point to truth. Rohrer illuminates a land of skewed realities where the impossible seems familiar, the sacher torte is afraid to be eaten, and it's always dusk in the forest.

    We find her awake in the middle of the night, contemplating love and heartbreak in all their exhilarating and anguished specifics. With astonishing openness, in language both passionate and enchanting, she offers us an intimate map of a troubled and far-flung heart: “Can you believe I thought that?” she asks, “That we would always go/roaming brave and dangerous/on wild unlit roads?”At once witty and tender, with Dorothy Parker–like turns of the knife and memorable partings from lovers in New York, London, Rome and beyond, these poems capture a restless movement through loves and locales, and charm us at every turn with their forthrightness.From the Hardcover edition.

    Set in Pyke County, Mississippi, Eden is a raw, heartbreaking, and enlightening novel that marks the emergence of a stunning and original talent. Narrated by fourteen-year-old Maddy Dangerfield, Eden opens in the moments after Maddy has impulsively drawn a naked woman on the pages of Genesis in bright red lipstick during Sunday service. The community is scandalized, and her devout, long-suffering mother’s response to her transgression is to force her to spend weekends nursing her dying Aunt Pip, an outcast who lives on the edge of town.From then on, Maddy must negotiate her two worlds: at the house where she lives with her hard-working, Bible-reading mother, Faye, and her father, Chevrolet—a one-armed drunk, gambler and womanizer—she is both a reluctant participant in and astute observer of the strange and confounding dynamics of her sometimes violent, sometimes tender family. (Years before, Maddy’s grandmother—her mother’s mother—chopped of Chevrolet’s arm and fed it to the pigs after he and Pip were found together in the back room as Faye entertained friends from the church—and ever since, he has been am emasculated, desperate man—drinking and gambling his wife’s money away, leaving her to clean up his mess time and again.) And then out on Commitment Road, she is caretaker to her Aunt Pip, whose only friend is her eccentric neighbor, Fat. Maddy’s time with Pip and Fat opens her eyes to the exhilaration of speaking your own mind, living your life on your own terms and without apology, and also to the cost extracted by both. She learns that there are strengths that belong to women alone, and also that there is a kind of ravaging vulnerability that is terrifying and inescapable, and uniquely female.The world Maddy inherits is one of injustice and hypocrisy, one that requires black people work for the whites for little to no pay; that sent her Uncle Sugar to jail for raping a white woman—no questions asked—when Maddy was just a baby; that preaches Christian love and forgiveness even as its actions reflect the very opposite. But Maddy soon learns that there is something that can work to oppose those truths, and that is knowledge; having the will and the ability to look beneath the surface, to question what others take as a given. By the end of the novel, newly acquainted with mortality and her own fierce strength, Maddy comes to bear both the burden and the blessing of that knowledge.In lush, vivid brushstrokes, Olympia Vernon conjures a world that is both intoxicating and cruel, and illuminates the bittersweet transformation of the young girl who must bear the burden and blessing of its secrets too soon. Eden is a haunting, memorable novel propelled by the poetry and power of a voice that is complex, lyrical, and utterly true.

    Poulin, Jr., Poetry Prize. In his foreword he writes, "I was immediately struck by the boldness of imagination, the strange cadences, and wild music of these poems. We should be glad that young poets like Keetje Kuipers are making their voices heard not by tearing up the old language but by making the old language new."Keetje Kuipers, a native of the Northwest, earned her BA at Swarthmore College and MFA at the University of Oregon. A Stegner Fellow at Stanford University, she divides her time between Stanford and Missoula, Montana.From Devils Lake Journal:“Keetje Kuipers’ Beautiful in the Mouth is at once lovely, frank, and haunting. The poems move easily between landscapes, inhabiting the American west, Paris, and New York City with equal ease and yet, they never exploit sympathies of locale for their power. Instead, they rely on nothing but the speaker’s own candor, who is able to speak through such disparate poems as “Bondage Play as Substitue for Prayer” alongside “Waltz of the Midnight Miscarriage,” “Reading Sappho in a Wine Bar,” and “Barn Elegy” with a good spattering of honest-to-goodness sonnets.”From ForeWord Reviews:“The poems move like ghosts themselves: disappearing into walls, circling back, appearing for a moment to be captured, then evaporating into thin air. Kuipers pins moments onto the page with the care of an etymologist collecting rare specimens. Her poems are at once visceral and cosmic, “a wave as well as a particle.””

    These poems are allusive and tough. While they celebrate the pleasures of the natural world--mutability, desire, and the flowering of things--they are compounded by a critical awareness of contemporary culture. As we traverse their associative leaps, we discover a linguistic landscape that is part garden, part wilderness, where a poem can perform its own natural history. Divided into four cantos interrupted by lyrics and errata, Meteoric Flowers mirrors the form of Erasmus Darwin's 18th-century scientific pastorals. In attending to poetry's investigative potential, Willis shifts our attention from product to process, from commodity to exchange, from inherited convention to improvisational use.

    D. A. Powell What is it about the poems in Red Sugar, Jan Beatty's astonishing third collection, that brings to mind the incomparable music of Miles Davis? 'It's just that I can't play like anybody else... I can't do anything like anybody else, ' Davis insisted. These poems go their own sure way, making their own fierce music, charting 'the fluid stages of / empire & slavery' in the human body, yours and mine, as we rehearse our sometimes sorry but always necessary seductions. Jan Beatty is the author of Boneshaker and Mad River, winner of the 1994 Agnes Lynch Starrett Poetry Prize. She is the recipient of the Pablo Neruda Prize for Poetry and two fellowships from the Pennsylvania Council on the Arts

    Reginald Dwayne Betts confronts the funk of postincarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person’s life.The poems move between traditional and newfound forms with power and agility—from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume’s radiant conclusion. Drawing inspiration from lawsuits filed on behalf of the incarcerated, the redaction poems focus on the ways we exploit and erase the poor and imprisoned from public consciousness. Traditionally, redaction erases what is top secret; in Felon, Betts redacts what is superfluous, bringing into focus the profound failures of the criminal justice system and the inadequacy of the labels it generates.Challenging the complexities of language, Betts animates what it means to be a "felon."

    That was the essence of the life an poetry of Langston Hughes.”—Senator John Kerry, from the PrefaceA beautifully designed collection of some of the greatest poems by a quintessentially American poet, whose theme of the promise of American inclusiveness continues to ring true.Langston Hughes was uncommonly attuned to the ideals of freedom and democracy and the sometimes elusive American dream. The poems collected here offer a hopeful, truly democratic vision for America. Incantatory and stirring, passionate and provocative, they are as resonant for our times as they were over half a century ago.Contents:“Let America Be America Again,” “Dream of Freedom,” “America,” “Search,” “Some Day,” “In Time of Silver Rain,” “Dare,” “Give Us Our Peace,” “I Dream a World.”

    The Boston-based writer has found his stronghold in the world of social media under the moniker of High Poets Society. His writing is most recognized for its mesmerizing rhyme scheme and clever wordplay.