These prophetic, osmotic poems wage a daily battle for normalcy, seeking structure in the quotidian while grappling with the absence of forgetting.

    The overall theme is loss, both the social loss from the disappearance of communities due to the external effects of technology, and the personal loss from the death of a family member. The book is divided into five sections with the first and last dealing with the social impacts of the flooding of the Jocassee Valley on the border of North and South Carolina. As in his other books, Rash is very precise in his use of language, with the prosody being informed by Welsh forms. Many of the poems use a style of syllabic verse featuring seven- syllable lines with internal echos, but most readers will not notice the craftsmanship of these poems because they flow so naturally. There is great narrative intensity in these poems with short poems of short lines telling detailed and vivid stories.

    It is a story about owning the emotions that live inside the heart and the head. It is the cathartic experience of pain and loss but also the bittersweet feelings of joy and the complexity of beauty. Elisabet expresses the unraveling of herself and the complexity of emotions that stemmed from heartache, her own mental health and the struggles of growing up and into a world with no precedence for a first generation child. This is the accumulation of three years of tears and long nights figuring out that chaos isn't always a bad thing.

    The language, the invention, the imagination, and the sheer fun of his poems is astounding. It's not all dazzle either. The poems are also moving. This man reminds us that there is nothing more serious than a joke' - Charles Simic, final judge and author of "Jackstraws", "Walking the Black Cat", and "A Wedding in Hell".

    At 14, her mother disappeared. Now 28, and just days after the death of her father, Clarissa discovers that he wasn't her father after all, and the only clues to her true heritage are a world away. Abandoning her fiancé, she flies to Helsinki, seeking to uncover the secrets her mother kept for so long. While piecing together the fragments of her mother's mysterious past, Clarissa is led to the Sami, Lapland's native "reindeer people," who dwell in a stark and frozen landscape, under the northern lights. It is there that she must summon the courage to confront an unbearable truth, and the violent act that ties her to this ancient people. Vida's second novel is the riveting story of an unthinkable quest. Her indomitable heroine, Clarissa Iverton, slowly and painfully (but not without a sense of humor) peels away years of old lies in order to embrace a history she could never have imagined. Sharply focused and beautifully told, Let the Northern Lights Erase Your Name is an ambitious and accomplished work of fiction that resonates with the themes of truth and forgiveness. (Spring 2007 Selection)

    – Shubhangi Swarup (Latitudes of Longing)

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    Featuring over one hundred and twenty of Cleo’s original poems, mantras, and affirmations, including fan favorites and never before seen ones, this book is a daily pep talk to keep you feeling empowered and motivated. With relatable, practical, and digestible advice, including “Hearts break. That’s how the magic gets in,” and “Baby, you are the strongest flower that ever grew, remember that when the weather changes,” this is a portable, replenishing pause for your daily life. Keep Heart Talk by your bedside table or in your bag for an empowering boost of spiritual adrenaline that can help you discover and unlock what is blocking you from thriving emotionally and spiritually.

    Born a princess in the region of Rajasthan in 1498, Mira (as she is more commonly known) fought tradition and celebrated a woman's right to an independent life in her ecstatic poems. Her royal family arranged an early marriage for her, but she felt a marriage to Krishna was more important. As a result, her life became a model of social defiance and spiritual integrity. During her lifetime, Mira's reputation spread across her country. She was known as a woman of immense talent and devotion. By the time she died in 1550, she was considered a saint. People across India recited and danced to her poems, and they still do today. In this collection, Robert Bly and Jane Hirshfield, two of America's best poets, have created lively English versions of Mirabai's poems, using fresh images and energetic rhythms to make them accessible to modern readers. Their work makes clear that Mirabai's poetry transcends her time and culture.Columbia University professor of religion John Stratton Hawley provides an afterword to the volume that discusses what is known of Mirabai's life and reputation. With a historian's precision, he shows how Bly and Hirshfield's versions belong to a tradition of reinterpretation and rephrasing that is already centuries old.Mirabai comes to life through the impressive interpreting of her poems by Bly and Hirshfield. The poems feel as fresh today as they must have felt when this amazing woman sung them herself five centuries ago.

    A reissuing of The Dollmaker’s Ghost, poetry by Larry Levis.

    Sin, bestselling author of the Whiskey, Words & a Shovel series, returns with a collection of poetry and prose meant to remind the wounded that they are, in fact, beautiful in a way society may never comprehend.A Beautiful Composition of Broken is inspired by some of the events expressed artistically by Samantha King in the bestseller Born to Love, Cursed to Feel. It serves as a poetic documentary of the lives of people who have been mistreated, misunderstood, and wrongfully labeled in a way that limits them in this world. The author’s most personal volume yet, A Beautiful Composition of Broken builds a conceptual bridge between r.h. Sin’s earliest work and his forthcoming series, Planting Gardens in Graves.

    Akiko reshaped the tanka, the most popular form of Japanese poetry for 1,200 years, into a modern poetic form. In this new work, her tanka appear in their original Japanese, in roman transliterations, and English translations along with a new preface and notes. Suitable for literature programs and translation courses.

    Or a prediction comes true and I couldn't do anything to stop it, so it seems like a kind of useless magic."

    This is their story--ultimately a love story--darkly funny, mournful, testy. It is about a reader who at times presides over the page like a god, and at others follows the leash of the author's voice through the dark streets of the book like a dog, and it is about a writer of determined slipperiness.  As we read, we think that each of us is The Reader, the one who knows the Real Story. But the more we think we understand, the more the story moves away from us—all is not what it seems. This eagerly awaited third volume by the poet whose work The New York Times described as "at once charmed and frightening" is a book of high-spirited subversiveness, a work of argument, seduction, and a relentless devotion to language. Then, Suddenly— bristles with the sound of the author's voice--insistent, vital, hilarious, and iconoclastic--tearing away at the confinement of the page and at the distance between the page and the reader. Emanuel's images are dazzling. She creates a performance that is fearsome and funny in its portrayal of the argument between the work of the text and the world of the body. The Gettsyburg Review has called her a writer of "exquisite craftsmanship" who can "strike from language . . . images chiseled clean as bas-relief." Then, Suddenly— is a book of spectacle and verve, part elegy, part vaudeville.

    She has since become one of our most respected authors of verse.Schnackenberg's first three books, collected in Supernatural Love, show the thrilling evolution of a unique voice in today's letters. From an early mastery in which precision and heartbreak are inseparable, her poetry accelerates book by book through the searching, dense, and metaphysical imagery--as well as the cascading syntax--which have become her signature. Whether we are witnessing her classic portrait of Darwin in his last year or discovering the vertiginous brillance of her elegy for the Byzantine monuments of Ravenna, we find in Schnackenberg gemlike poems offered as visionary documents, unmistakable in their glittering range and passion--and never the same twice.