It's real, relatable, and totally raw.

    All the poems are in William Stafford's familiar, reflective voice, and some had been freshly typed at the time of Stafford's death in August of 1993. The book is hospitable to a full range of experiences, moods, stunts with language, tones, expressive landmarks, and intimacies with the universe. Long considered a major voice in twentieth century American poetry, William Stafford is also one of our nation's most popular poets.

    Don Marquis' creations have been constantly in print since 1934.

     Spanning thirty years and including selections from four of his previous collections, Compass of Affection illuminates the poet’s longstanding engagement with language as revelation, and with poetry as way of discovery. For those who already admire the poetry of Scott Cairns and for those who have yet to be introduced, this essential volume presents the best of his work – the holy made tangible, love made flesh, and theology performed rather than discussed. Praise for Scott Cairns’ work “Scott Cairns [is] perhaps the most important and promising religious poet of his generation.”—Prairie Schooner “The voice of Cairns is conversational and coaxing—confiding in us secrets that seem to be our own.”—Publishers Weekly

    She was a teacher, and it was morning on the first day of school. In this haunting new collection of poems, Taylor Mali, once a teacher himself, explores her life and their love as well as the shape and texture of his own guilt and resilience.

    You haven't even learned it:ecstasy and suffering make the same face.--from "The Offering"May Day is both a distress call and a celebration of the arrival of spring. In this rich and unusually assured first collection, the poet Gretchen Marquette writes of the losses of a brother gone off to war in Afghanistan and Iraq, and a great love--losses that have left the world charged with absence and grief. But there is also the wonder of the natural world: the deer at the edge of the forest, the dog reliably coaxing the poet beyond herself and into the city park where by tradition every May Day is pageantry, a festival of surviving the long winter. "What does it mean to be in love?" one poem asks. "As it turns out, / the second best thing that can happen to you / is a broken heart."May Day introduces readers to a new poet of depth and power.

    Rod McKuen's most personal book of poetry.

    Also included are some "Mother Said, " "Father Said, " and "My Girlfriend Said" poems, providing plenty of material for the patient on the couch. My Therapist Said is full of advice, some of it sage, some of it absurd.

    Fans are going to love it, and newcomers will be pleased and startled by his intensity and originality. The images are vivid and the voice is honest and powerful.”—Stephen King, author of Duma Key“Ryan Adams writes with equal parts precision and recklessness; the blood he draws from the text is easily as unnerving as its unapologetic tenderness. He is proof that poetry will find its writer.”—Mary-Louise Parker, actress“Infinity Blues is Ryan Adams at his personal, unforgettable best. Strong and beautiful and funny and pure. Like all his work, it’s soul poetry of the highest order.”—Cameron Crowe, filmmaker“This is much better than reading a friend’s journal. It’s more like watching somebody you love in the bathtub talking to himself. You’re like, wow, he’s even good at taking a bath. After reading Infinity Blues (which I think is a great title), I give Ryan Adams the best compliment I ever got—and the only reason for reading anyone’s poetry. Ryan, I really like your mind.”—Eileen Myles, author of Cool for YouRyan Adams may be known primarily for acclaimed albums such as Cardinology, Heartbreaker, Gold (which includes the popular hit songs “When the Stars Go Blue” and “New York, New York”), Love Is Hell, Cold Roses, Jacksonville City Nights, and Easy Tiger, but the world renowned singer/songwriter has always been a poet and fiction writer at heart. With the release of Infinity Blues, his nonmusical writing is for the first time ever unveiled in book form. Mr. Adams’s work rings of an emotional authenticity that provides perhaps an even deeper insight into the man than is revealed through the songs that have resonated with his hundreds of thousands of fans the world over.RYAN ADAMS is usually performing in some city on the globe at any given moment with his longtime band the Cardinals. Adams is known for his prolific nature, which in the last ten years has produced various international hit albums. Adams has also produced Willie Nelson’s Songbird album and contributed to records by Toots and the Maytals, Beth Orton, the Wallflowers, Counting Crows, and Cowboy Junkies; additionally, he has appeared on CMT’s Crossroads with Elton John. He was a longtime Manhattan resident before relocating to France in 2009, and he listens to A LOT of heavy metal.

    While focusing on the words from the project, new photography launches each section which speaks to the reader's journey through the world: Love Found, Being In Love, Love Lost, Hope, Despair, Living and Dying.

    The wonderful writings in Thalia Field's long-awaited new book Point and Line deny categorization, they are "nicheless." Perhaps describable as "epic poetries," these riveting pieces represent a confluence of genres in which Thalia Field has been involved over the course of her career: fiction, theater, and poetry. Written from a constructivist, post-genre sensibility, they elude classification, and present the author's concern with clarity in a world that resists it. For instance, in "Hours" and "Setting, the Table," Field uses indeterminate performance techniques to emphasize the categorical/conceptual nature of thought. Other pieces use generative schemes, portraits of mental shapes, which create meaning out of noise. Visually, each chapter is captivating, showing the author's need for shapes and colors in her work, her fascination with the contours of speech.

    Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true "velvet revolution," fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.

    This collection is many things: an exploration of strength and femininity, an invitation to let things go wrong, a reminder that growth comes in many forms, and an acknowledgment that “some things can’t be written in sugar, only salt.” Some of the writings are extravagant, some are sparse, but all are infused with Guinery’s introspection, stillness, and kindness.

    The hull glides in silence and with such perfect balance as to report no motion. I sit up for another stroke, now looking down as the blades ignite swirling pairs of white constellations of phosphorescent plankton. Two opposing heavens. ‘Remember this,’ I think to myself.”Few people have ever considered the eastern United States to be an island, but when Nat Stone began tracing waterways in his new atlas at the age of ten he discovered that if one had a boat it was possible to use a combination of waterways to travel up the Hudson River, west across the barge canals and the Great Lakes, down the Mississippi River to the Gulf of Mexico, and back up the eastern seaboard. Years later, still fascinated by the idea of the island, Stone read a biography of Howard Blackburn, a nineteenth-century Gloucester fisherman who had attempted to sail the same route a century before. Stone decided he would row rather than sail, and in April 1999 he launched a scull beneath the Brooklyn Bridge to see how far he could get. After ten months and some six thousand miles he arrived back at the Brooklyn Bridge, and continued rowing on to Eastport, Maine. Retracing Stone’s extraordinary voyage, On the Water is a marvelous portrait of the vibrant cultures inhabiting American shores and the magic of a traveler’s chance encounters. From Pittsburgh, Pennsylvania, where a rower at the local boathouse bequeaths him a pair of fabled oars, to Vanceburg, Kentucky, where he spends a day fishing with Ed Taylor -- a man whose efficient simplicity recalls The Old Man and the Sea -- Stone makes his way, stroke by stroke, chatting with tugboat operators and sleeping in his boat under the stars. He listens to the live strains of Dwight Yoakum on the banks of the Ohio while the world’s largest Superman statue guards the nearby town square, and winds his way through the Louisiana bayous, where he befriends Scoober, an old man who reminds him that the happiest people are those who’ve “got nothin’.” He briefly adopts a rowing companion -- a kitten -- along the west coast of Florida, and finds himself stuck in the tidal mudflats of Georgia. Along the way, he flavors his narrative with local history and lore and records the evolution of what started out as an adventure but became a lifestyle. An extraordinary literary debut in the lyrical, timeless style of William Least Heat-Moon and Henry David Thoreau, On the Water is a mariner’s tribute to childhood dreams, solitary journeys, and the transformative powers of America’s rivers, lakes, and coastlines.From the Hardcover edition.

    There is a new clarity to her work, a disquieting transparency, even in the midst of the wild thickets of language for which she is known. A poet “at the border of her own allegory,” Brock-Broido searches for a lexicon adequate to the extremities of experience–a quest that is as capricious as it is uncompromising. In the process, she reveals, unsparingly, things as they are. In “Pamphlet on Ravening” she recalls, “I was a hunger artist once, as well. / My bones had shone. / I had had rapture on my side.” The book is laced with sequences: haunted, odd self-portraits; a succession of poems provoked by discarded titles by Wallace Stevens; an intermittent series of fractured and beguiling lyrics that she variously refers to as fragments, leaflets, and apologues.Trouble in Mind is a book that astonishes us afresh at the agility and the uncanny will of language, which Brock-Broido is not afraid to follow where it may lead her: “That the name of bliss is only in the diminishing / (As far as possible) of pain. That I had quit / The quiet velvet cult of it, / Yet trouble came.” Even trouble, in Brock-Broido’s idiom, becomes something resplendent.From the Hardcover edition.