As Rumi said, "Love will find its way through all languages on its own". In 'teaching my mother how to give birth', Warsan's debut pamphlet, we witness the unearthing of a poet who finds her way through all preconceptions to strike the heart directly. Warsan Shire is a Kenyan-born Somali poet and writer who is based in London. Born in 1988, she is an artist and activist who uses her work to document narratives of journey and trauma. Warsan has read her work internationally, including recent readings in South Africa, Italy and Germany, and her poetry has been translated into Italian, Spanish and Portuguese.

    Smith, the Poet Laureate of the United StatesIn Wade in the Water, Tracy K. Smith boldly ties America’s contemporary moment both to our nation’s fraught founding history and to a sense of the spirit, the everlasting. These are poems of sliding scale: some capture a flicker of song or memory; some collage an array of documents and voices; and some push past the known world into the haunted, the holy. Smith’s signature voice—inquisitive, lyrical, and wry—turns over what it means to be a citizen, a mother, and an artist in a culture arbitrated by wealth, men, and violence. Here, private utterance becomes part of a larger choral arrangement as the collection widens to include erasures of The Declaration of Independence and the correspondence between slave owners, a found poem comprised of evidence of corporate pollution and accounts of near-death experiences, a sequence of letters written by African Americans enlisted in the Civil War, and the survivors’ reports of recent immigrants and refugees. Wade in the Water is a potent and luminous book by one of America’s essential poets.

    His source materials are the U.S. government's record of the trials of the Nazi criminals before the Nuremberg Military Tribunal and the transcripts of the Eichmann trial in Jerusalem. Except for the twelve part titles, none of the words here are Reznikoff's own: instead he has created, through selection, arrangement, and the rhythms of the testimony set as verse on the page, a poem of witness by the perpetrators and the survivors of the Holocaust. He lets the terrible history unfold--in history's own words.

    This definitive collection includes short verse published between 1913 and 1922 by Ezra Pound, D. H. Lawrence, H. D. (Hilda Doolittle), James Joyce, Wallace Stevens, William Carlos Williams, and many others.

    In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure.In Men in the Off Hours, Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling juxtapositions: Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality, Men in the Off Hours shows us a fiercely individual poet at her best.

    Ali travels by water and by night, seeking the Far Mosque and its overarching paradox: that when God and Self are one, an ascent into Heaven is a voyage within.

    Narrative elaboration becomes speed and song. Less embattled than earlier work, less actively violent, these new poems have, by conceding time's finalities and triumphs, acquired a dark radiance unlike anything seen before in Bidart's long career. Mortality--imminent, not theoretical--forces the self to question the relation between the actual life lived and what was once the promise of transformation. This plays out against a broad landscape. The book opens with Marilyn Monroe, followed by the glamour of the eighth-century Chinese imperial court (seen through the eyes of one of China's greatest poets, Tu Fu). At the center of the book is an ambitious meditation on the Russian ballerina Ulanova, "Giselle," and the nature of tragedy. All this gives new dimension and poignance to Bidart's recurring preoccupation with the human need to leave behind some record or emblem, a made thing that stands, in the face of death, for the possibilities of art. Bidart, winner of the 2007 Bollingen Prize in American Poetry, is widely acknowledged as one of the significant poets of his time. This is perhaps his most accessible, mysterious, and austerely beautiful book.

    "there are so many words I've left unsaidso instead of going another year or five or tenin brutal, crushing silencedon't waste this opportunitydon't be scared when the full weight of my hearttests the strength of your handsI'm trusting you with something I barely trust myself withthis knowingthis tellingthis momentous uprootingI'm hereI amI am right here in these words"A debut poetry collection about love, heartbreak, body image, how absolutely breathtaking girls are, flower blooms and starlight.

    Cross-Genre. Asian American Studies. In INCUBATION: A SPACE FOR MONSTERS, Bhanu Kapil "explores/creates a shiftful place for she who is neither one thing nor another. Girl as hybrid of light and dark, of human and machine, of baby and mother, of all motherless, body-bound things. Laloo is a traveler, hitchhiking through landscapes American and otherwise. A frightening, transforming, longing book." Rebecca BrownThis work "celebrates the cobbling together of lives-tracing the simplest desires to connect bodies, words, cultures, just as they threaten to become prosthetic, amputations. With a global body and sharp mind, Bhanu Kapil maps the poetic, exhilarating journey between pain and insight. A true landmark." Thalia Field"

    Maurice Manning extolls the virtues of nature and its many gifts, and finds deep gratitude for the mysterious hand that created it all. that bare branch that branch made black by the rain the silver raindrop hanging from the black branch Boss I like that black branch I like that shiny raindrop Boss tell me if I’m wrong but it makes me think you’re looking right at me now isn’t that a lark for me to think you look that way upside down like a tree frog Boss I’m not surprised at all I wouldn’t doubt it for a minute you’re always up to something I’ll say one thing you’re all right all right you are even when you’re hanging Boss

    Thunderbird's controlled rage plunges into the black interior armed with nothing but guts and Lasky's own fiery heart to light the way.Baby of airYou rose into the mysticalSide of thingsYou could no longer live with usWe put you in a little homeWhere they shut and locked the doorAnd at nightYou blew outAnd went wandering . . . Dorothea Lasky is also the author of Black Life and AWE, both from Wave Books. She lives in New York.

    Written during the first two hundred days of the Trump presidency, these poems are haunted by the country's past and future eras and errors, its dreams and nightmares. Inventive, compassionate, hilarious, melancholy, and bewildered--the wonders of this new collection are irreducible and stunning.

    I believe everyone should understand that we all go through things in life, it's all about how we react and recover from them. If you've felt as though you didn't have a voice in a situation, or you weren't sure if you'd get through it "fluid." may be the book for you.

    I am not impatient—My skin will wait to greet its old complexions.I'll lie here till the world swims back again. —from "Mummy of a Lady Named Jemutesonekh"Thomas James's Letters to a Stranger—originally published in 1973, shortly before James's suicide—has become one of the underground classics of contemporary poetry. In this new edition, with an introduction by Lucie Brock-Broido and four of James's poems never before published in book form, this fraught and moving masterpiece is at last available.Letters to a Stranger is a new book in the Graywolf Poetry Re/View Series, edited by Mark Doty, dedicated to bringing essential books of contemporary American poetry back into print.

    Early posthumously published collections-some of them featuring liberally “edited” versions of the poems-did not fully and accurately represent Dickinson’s bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations. Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson’s extraordinary poetic genius.This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.