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.

    'Revolution on Canvas' presents another collection of poetry from some of the country's most popular indie-rock bands, including Deftones, Fall Out Boy, Armor For Sleep, and Say Anything.

    A collection of poetry about depression, survival, and healing: featuring "Self-Love Manifesto" an inspirational poem that became viral on Tumblr which explores what it truly means to fall in love with your being.

    . . BANE’S BELIEF Kenzie McCleod thought the witch-hunting frenzy would never find her in the Highlands. Her un-natural connection to animals and her bothersome beauty could be hidden, as long as she and her mother kept to themselves. So what had prompted her to accept the invitation of the compelling, and wickedly handsome, Laird of the Mackays? Laird Bane Mackay knows he should marry a woman of his clan, but none have sparked his curiosity like the black-haired lass with the winning smile. Why can’t he ignore his attraction to this unsuitable stranger whose haunting violet eyes and strange abilities make him rethink magic in the world? In following his heart, he may very well bring the wrath of the Witch Pricker (hunter) down on them all. WANDERING HEART Sharing a soul-searing kiss with the most devastatingly handsome man she’s ever met was not part of Fiona Keenan’s plan. Neither was stealing an ancient family heirloom out of his pocket. When Cameron Mackay decides to pursue the ring, neither one of them is prepared for what happens between them. For, in a rough and tumble mining town, where everyone is a fortune hunter and a gambler, love might just be the one risk no one is willing to take.

    A man and a woman sit at the same dinner table, an ocean of worry separating them. An iceberg sets out to dance. A sword swallower ponders his dating prospects. "The vessel is simple, a rowboat among yachts," the poet observes in "Ukulele." "No one hides a Tommy gun in its case. / No bluesman runs over his uke in a whiskey rage."Beasley's voice is pithy and playful, with a ferocious intelligence that invites comparison to both Sylvia Plath and Dorothy Parker. In one of six signature sestinas, she warns, "You must not use a house to build a home, / and never look for poetry in poems." The collection’s centerpiece is a haunting sequence that engages The Traveler's Vade Mecum, an 1853 compendium of phrases for use by mail, telegraph, or the enigmatic “Instantaneous Letter Writer."Assembled over ten years and thousands of miles, these poems illuminate how intimacy is lost and gained during our travels. Decisive, funny, and as compassionate as she is merciless, Beasley is a reckoning force on the page.