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.

    Although there is no evidence the letters were ever posted, they indicate a long relationship, geographically apart, in which correspondence would have been the primary means of communication. Dickinson did not write letters as a fictional genre, and these were surely part of a much larger correspondence yet unknown to us. In the week following Dickinson’s death on May 15, 1886, Lavinia Dickinson found what she described as a locked box containing seven hundred of her sister’s poems. The Master letters may have been among them, for they were clearly not with the correspondence, which Lavinia destroyed upon discovery. Of primary importance, the Master letters nevertheless have had an uncertain history of discovery, publication, dating, and transcription. This publication, issued at the centennial of Emily Dickinson’s death, presents the three letters in chronological order, based upon new dating of the manuscripts, and provides their texts in facsimile as well as in transcriptions that show stages in the composition of each letter.

    "[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

    in dream auto, drunk in old Havana, brooding in Mayan ruins, sex daydreams on the West Coast, airplane vision of Kansas, lonely in a leafy cottage, lunch hour on Berkeley, beer notations on Skid Row, slinking to Mexico, wrote this last night in Paris, back on Times square dreaming of Times Square, bombed in NY again, loony tunes in the dentist chair, screaming at old poets in South America, aethereal zigzag Poesy in blue hotel room in Peru—a wind-up book of dreams, psalms, journal enigmas & nude minutes from 1953 to 1960 poems scattered in fugitive magazines here collected.

    George Oppen's New Collected Poems gathers in one volume all of the poems published in books during his lifetime (1908-84), as well as previously uncollected poems and also a selection of his unpublished work. Oppen, who won a Pulitzer Prize in 1969, has long been acknowledged as one of America's foremost modernists. A member of the Objectivist group that flourished in the 1930s (which also included William Carlos Williams, Charles Reznikoff, Carl Rakosi, and Louis Zukofsky), he was hailed by Ezra Pound as "a serious craftsman, a sensibility which is not every man's sensibility and which has not been got out of any other man's book." Oppen's New Collected Poems (which replaces New Direction's earlier, smaller Collected Poems of 1975) is edited by Michael Davidson of the University of California at San Diego, who also writes an introduction to the poet's life and work and supplies generous notes that will give interested readers an understanding of the background of the individual books as well as references in the poems.

    Bobby Flopkowski has it all. Until a complicated series of events snowball into a disaster that changes the course of his life forever. Now, with a tent on the beach as his only home and an addiction that has cut him off from everyone he once loved, Bobby has a revelation that could put him back on track: he believes he has solved the puzzling crime that led to his downfall. But as the reality he’s always known slips farther away, will he be able to convince someone—anyone—that his suspicions aren’t merely the pleas of a desperate man?

    Drawing its name from the spacecraft currently departing our solar system on an embassy to the beyond, Voyager unfolds as three books within a book and culminates in a chilling Dantean allegory of leadership and its failure in the cause of humanity. At the heart of this volume lies the historical figure of Kurt Waldheim—Secretary-General of the U.N. from 1972-81 and former intelligence officer in Hitler’s Wehrmacht—who once served as a spokesman for humanity while remaining silent about his role in the collective atrocities of our era. Resurrecting this complex figure, Reddy’s universal voyager explores the garden of forking paths hidden within every totalizing dream of identity.

    It can be downloaded as an electronic book OR you can order it in BOOK form that will be mailed to you.It can be purchased using Debit/Credit Card or PayPal account. CAUGHT SCREAMING includes over 140 pages of previously unpublished poems, private illustrations, & a blank diary section at the end of the book for buyers to add their own thoughts, poems, dreams, rants, & raves.BUY YOUR COPY TODAY!

    

    "Choose any angle you like," she writes, "The world is split in two." One poem, "Bicameral," moves from a child's cleft palate to a gunshot wound to the hanging skeins of a fabric in a postwar art exhibit. In the wool cut from the sheep to make the materials of art, she finds a tangled record of violence and repair: "The body it becomes will ever / bind it to the human and a trail of woe."Longtime readers of Gregerson's poetry will be facinated by her departure from the supple tercets in which she has worked for nearly twenty years: Magnetic North is a bold anthology of formal experiments. It is also a heartening act of sustained attention from one of our most mindful poets.

    These poems mourn the dead by turning memories over and over like an old coin, by invoking other poets, by appropriating the language of technology, of instruction, of diagram, of electrical engineering, and of elegy itself. Devastating, cheeky, allusive, hallucinatory: this is Queyras at her most powerful.'Like the central conceptual apparatus, Queyras is smart and insightful in her work to expand and challenge the nature of language and poetry . . . Lend Queyras your ears, your minds, your hearts, your Time. She will reward you, repeatedly.' – The Rumpus'A collection of gorgeous and cantankerous poems that ask testy questions of all contemporary poets, and for this, the book is a must-read.' – The Globe and Mail'This year's most devastating and enlightening Canadian poetry collection.' – Telegraph-Journal

    This bruising collection of poems puts a blade and a microscope to nostalgia, tradition, race, apology, and sexuality, in order to find beauty in a flawed world. His work has been described as an astounding testament to the power and necessity of confession.

    Book annotation not available for this title.

    Poems and selfies by Steve Roggenbuck

    Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche.Jane explores the nature of this haunting incident via a collage of poetry, prose, and documentary sources, including newspapers, related "true crime" books, and fragments from Jane’s own diaries written. Each piece in Jane has its own form that serves as an important fissure, disrupting the tabloid, "page-turner" quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Part elegy, part memoir, detective story, part meditation on violence, and part conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, expands the notion of what poetry can do—what kind of stories it can tell, and how it can tell them.