This new book takes place in Lockdown Three. This time Key can make Government-sanctioned expeditions out onto the streets of London (remember?). And it is there that the inaction takes place. Phone calls to his mother, promenades with his loyal friend, bubble-negotiations, sitting his fat arse down on benches, drinking mocha. Another three months of mind-freezing inertia. This time on the move. Conversations interspersed with poetry.

    A collection of poems parodying the Gabbie Hanna collection 'Adultolescence', written from the perspective of Kyra - a little dog with a big heart! Youtuber, Rachel Oates, and her dog worked together to create this collection of poems and photographs which will resonate with every dog lover, but will also provide plenty of giggles for 'fans' of Gabbie's 'poetry'.

    . . a contemporary genius with the language itself . . . There is simply no contemporary poet like him.” —David Baker, The Kenyon Review Albert Goldbarth has created an unmistakable signature style—learned, copious, hilarious, and heartbreaking—which has so far spanned an award-winning career of thirty-five years. The Kitchen Sink brings together forty new poems with a rich selection of earlier poetry, ranging from the brief, flickering lyric to the long, narrative sequence. In both forms, Goldbarth exerts a wild showmanship and an ever-widening scope to illustrate the complex character and interconnectedness of humanity, history, and art. The Kitchen Sink is the definitive book by one of America’s most original and entertaining poets.

    With formal invention and a wild personae, ZIRCONIA compels one to follow gem-strewn trails of feminine intuition, savagery, ennui, fantasy, and intimacy to their diabolically fruitful conclusions.

    Tony Hoagland captures the recognizably American landscape of a man of his generation:  sex, friendship, rock and roll, cars, high optimism, and disillusion.  With what Robert Pinsky has called “the saving vulgarity of American poetry,”  Hoagland’s small biographies of destruction reveal that defeat is a natural prelude to grace and loss a kind of threshold to freedom.“A remarkable book.  Without any rhetorical straining, with a disarming witty directness, these poems manage to transform every subject they touch, from love to politics, reaching out from the local and the personal to place the largest issues in the context of feeling.  It’s hard to think of a recent book that succeeds with equal grace in fusing the truth-telling and the lyric impulse, clarity and song, in a way that produces such consistent pleasure and surprise.”—Carl Dennis“This is wonderful poetry:  exuberant, self-assured, instinct with wisdom and passion.”—Carolyn Kizer “There is a fine strong sense in these poems of real lives being lived in a real world.  This is something I greatly prize.  And it is all colored, sometimes brightly, by the poet’s own highly romantic vision of things, so that what we may think we already know ends up seeming rich and strange.”—Donald Justice“In Sweet Ruin, we’re banging along the Baja of our little American lives, spritzing truth from our lapels, elbowing our compadres, the Seven Deadly Sins.  Maybe we’re unhappy in a less than tragic way, but our ruin requires of us a love and understanding and loyalty just as deep and sweet as any tragic hero’s.  And it’s all the more poignant in a sad and funny way because the purpose of this forced spiritual march, Hoagland seems to be saying, is to leave ourselves behind.  Undoubtedly, you will recognize among the body count many of your selves.”—Jack Myers

    This full-length collection includes individual lyric poems as well as a previously published chapbook Sea Lyrics and a new collaborative piece "Dumb Duke Death" with illustrations by Jennifer Jarnot.

    Joseph Brodsky's last volume of poems in English, So Forth, represents eight years of masterful self-translation from the Russian, as well as a substantial body of work written directly in English.

    A Pound of Steam presents seven poems exploring identity and alienation, a philosophical bent that can be found in her song lyrics, but here goes further to unearth truths about the human condition.

    Hall's new poems further the themes of love, death, and mourning so powerfully introduced in his WITHOUT (1998), but from the distance of passed time. A long poem, "Daylilies on the Hill 1975 - 1989," moves back to the happy repossession of the poet's old family house and its history - a structure that "persisted against assaults" as its generations of residents could not. These poems are by turns furious and resigned, spirited and despairing - "mania is melancholy reversed," as Hall writes in another long poem, "Kill the Day." In this book's fourth and final section, "Ardor," the poet moves toward acceptance of new life in old age; eros reemerges.

    This probing of the changes in the American psyche through the 1970s is carried forward in the second part, Landscapes of Living Dying (1979)—a work originally hailed by Library Journal as "Ferlinghetti's strongest work since his 1957 A Coney Island of the Mind. . . . [He] pursues his disheveled muse with the innocent passion of a young beatnik, hiding his authentic erudition behind a comfortable guise of spontaneous composition."

    Gibson. The pages explore hurt, healing, love, forgiveness, self-discovery and the journey towards becoming a woman. Written in four chapters each piece encourages healing and the journeying of self.

    "Nick Demske writes from culture like the Hollywood version of a rebellious slave, the role shredding off him, culture's synthetic exemplary tales shredding and piling up on the floor of the projector room."—Joyelle McSweeneyHis name is "a transcendant uber-obsenity that can be understood universally by speakers of any language."

     Mozelle did not want to get married and, for certain, she did not want twelve children. She didn't even want one child. Mozelle dreamed of getting a good job, of buying herself a car, and of traveling across country a carefree woman---nobody and nothing hanging onto her skirt tail. That is until tall, dark, handsome Randell Tate, twenty-two years Mozelle's senior, showed up in church that fateful Sunday morning, winked at her and threw Mozelle's world off balance. She fell under Randell's spell and her once imagined dreams for her future were no more. Three months later they wed and Randell carried Mozelle across the threshold into The Great Depression. As one child became four Mozelle saw that Randell was not the man she thought she married. Against all odds, Mozelle set her sights on buying a piece of land and building a house to put a roof over their heads. To realize that dream, Mozelle was going to have to squirrel away her pennies and in the end, build her house with her own two hands---husband or not. l Abiding by her parents' teachings, Mozelle stays loyal and faithful in her marriage to Randell, although Randell holds no vow sacred. The hard bed that Mozelle's father had warned that she had made for herself by marrying Randell, became less and less comfortable to sleep in, but Mozelle found comfort in turning to the Lord to see her through the storm. Mozelle is every woman who squares her shoulders and vows to rise above a bad marriage and the excruciating poverty that binds her. Blessed with true grit and a strong backbone, Mozelle stands her ground and sways with the breeze of disappointment and the winds of deprivation. Mozelle's determination and her unshakeable faith in God, like the supple branches of the weeping willow tree are strong and unbreakable, thereby proving that Weeping Willows Dance.

    The book teaches that a person's softness is their biggest strength and that having a big heart is not always a bad thing and that a glimmer of light can be found in the darkest places.A Handful of Stars is raw and unapologetic, soft and kind, reflective and inspirational all at the same time. Some of Ruby's most loved poems are shared within the pages of this book, in hope that they will have the same effect on readers the second time as they did the first.

    Here, collected in this volume, are Wordsworth’s finest works, some of the most beautiful poems ever written: from the famous lyrical ballads, including “The Tables Turned” and “Lines Composed a Few Miles Above Tintern Abbey,” to the sonnets and narrative poems, to excerpts from his magnum opus, The Preludes. By turning away from mythological subjects and artificial diction toward the life and language around him, Wordsworth acquired for poetry the strength and new sources of inspiration that have allowed it to survive and flourish in the modern world.