In his sixth book of poems, James Galvin writes from a deep, philosophical engagement with the landscape and faces a "vertigo of solitude" with his marriage dissolved, his only daughter grown and gone, and the log house he built by hand abandoned. "What did I love that made me believe it would last?" he asks.Something has to be true enough to beTaken for granted.In the hospital I sawAn old manCaressing the face of an old woman.This same man, young, caressed her faceIn just that way.That’s the stillnessAt the center of change—A sadness worth dying for, I swear—There is no other.—from "Dying into What I’ve Done""James Galvin has a voice and a world, perhaps the two most difficult things to achieve in poetry."—The Nation"In James Galvin we have a superior poet."—American Book Review"Galvin’s poems have the virtues of precise observation and original language, yes, but what he also brings to the table is a rigor of mind and firmness of phrasing which make the slightest of his poems an architectural pleasure."—Harvard ReviewJames Galvin has published five collections of poetry, most recently Resurrection Update: Collected Poems 1975–1997, which was a finalist for the Los Angeles Times Book Award and the Lenore Marshall/The Nation Prize. He is also the author of the critically acclaimed prose book, The Meadow and a novel, Fencing the Sky. He lives in Laramie, Wyoming, where he works as a rancher part of each year, and in Iowa City, where he is a member of the permanent faculty of the University of Iowa Writers’ Workshop.

    Cummings is without question one of the major poets of the 20th century, and this volume, first published in 1959, is indispensable for every lover of modern lyrical verse. It contains one hundred of Cummings’s wittiest and most profound poems, harvested from thirty-five of the most radically creative years in contemporary American poetry. These poems exhibit all the extraordinary lyricism, playfulness, technical ingenuity, and compassion for which Cummings is famous. They demonstrate beautifully his extrapolations from traditional poetic structures and his departures from them, as well as the unique synthesis of lavish imagery and acute artistic precision that has won him the adulation and respect of critics and poetry lovers everywhere.

    Carol Ann Duffy's 'Rapture' is about the loss and rediscovery of love in all its aspects - erotic, intellectual, emotional.

    Holland, a timely collection of poetry that follows the final girl of slasher cinema - the girl who survives until the end - on a journey of retribution and reclamation. From the white picket fences of 1970s Haddonfield to the apocalyptic end of the world, Holland confronts the role of women in relation to subjects including feminism, violence, motherhood, sexuality, and assault in the world of Trump and the MeToo movement. Each poem centers on a fictional character from horror cinema, and explores the many ways in which women find empowerment through their own perceived monstrousness.

    In this restless, swerving book simple questions—such as, Why paint a bird?—are immediately complicated by concerns of morality, human capacity, and the ways we look to art for meaning and purpose while participating in its—and our own—invention.

    It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

    Any form of heartbreak is one of the worst things one can encounter. Some say heartbreak is inevitable whereas some may disagree. However, almost every individual will probably experience some sort of heartbreak throughout their lives.We all have our own ways of healing but throughout this book, I have written in such a way that hopefully, most people can relate; the pain is printed- in black and white (literally!)I hope you can relate to my words- I tried to keep the poetry as simplistic as possible- as described by some readers, 'the words speak for themselves.'I hope my words have a didactic element- which not only teach but remind you that you are not alone.I hope you enjoy 'Good morning to Goodnight.'Lots of love, Eleni S Kau

    One day, I might perhaps become something so small and insignificant to you that you only think of me as often as you think of the little particles of dust that you can see floating around the window in the late afternoon sun.If I'm lucky enough, you'll think of me as often as never thinking of me again at all.

    Part lucid dreaming instruction manual, part breakup in a haunted museum.

    Afterlife is a journey from the darkness to the light again, and again, and again.This poetry collection discusses depression, anxiety, trauma flashbacks, intrusive thoughts, death, self-harm, suicidal ideations, strong language.Please practice self-care while reading this poetry collection.Please see appendix at the end of the collection for detailed page number content warnings.Also available for download on Payhip: https://payhip.com/b/hYbl

    Mad Woman, Anchors & Vacancies, Redamancy, and most of Throes are sectioned here to take you on a journey. From madness to love and the heartache in between, it's all here.

    The aim of the present complete edition, which contains a numbered sequence of the 224 poems written after 1956 together with a further 50 poems chosen from her pre-1956 work, is to bring Sylvia Plath's poetry together in one volume, including the various uncollected and unpublished pieces, and to set everything in as true a chronological order as is possible, so that the whole progress and achievement of this unusual poet will become accessible to readers.

    Eliot, Elizabeth Bishop, John Ashbery -- and Jorie Graham. The New Yorker places Ms. Graham in this distinguished line of poets, heralding the Pulitzer Prize winner as a profound voice in American poetry. Now, in her eighth collection, she further enhances her reputation with a book-length sequence of verse that is a stunning work of grandeur.The New Republic writes, "for 'swarm,' in other words...read 'be born again.' Graham is writing about a spiritual turning point, a new beginning.... Beauty -- that is, the pure sense-perception which has long been a concern for Graham -- is no longer the most important criterion. Now goodness is...[and] the idea of submission, of obedience, without understanding: one must 'yield' before 'hearing the reason' for yielding."

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.

    “Provocative...a tantalizing, beautiful fusion of visions” (Bloomsbury Review).