The miracle in the mundane.One day, while browsing an antique store in Helena, Montana, photographer Tyler Knott Gregson stumbled upon a vintage Remington typewriter for sale. Standing up and using a page from a broken book he was buying for $2, he typed a poem without thinking, without planning, and without the ability to revise anything.He fell in love.Three years and almost one thousand poems later, Tyler is now known as the creator of the Typewriter Series: a striking collection of poems typed onto found scraps of paper or created via blackout method. Chasers of the Light features some of his most insightful and beautifully worded pieces of work—poems that illuminate grand gestures and small glimpses, poems that celebrate the beauty of a life spent chasing the light.

    Brute arises, brave and furious, from the dissolution of a relationship, showing how such endings necessitate self-discovery and reinvention. The speaker of these poems is a sorceress, a bride, a warrior, a lover, both object and agent, ricocheting among ways of knowing and being known. Each incarnation squares itself up against ideas of feminine virtue and sin, strength and vulnerability, love and rage, as it closes in on a hard-won freedom. Brute is absolutely sure of its capacity to insist not only on the truth of what it says but on the truth of its right to say it. "What am I supposed to say: I'm free?" the first poem asks. The rest of the poems emphatically discover new ways to answer. This is a timely winner of the Walt Whitman Award, and an introduction to an unforgettable voice.

    Even all by themselves, the titles of Patricia Lockwood's poems reveal the sort of surreal, enigmatic, rhetorically-elongated world her sensibility inhabits effortlessly: "When We Move Away From Here, You'll See A Clean Square of Paper Where His Picture Hung," "The Cartoon's Mother Builds a House in Hammerspace," "The Front Half and the Back Half of a Horse in Conversation," "Children With Lamps Pouring Out of Their Foreheads," and the inimitable "Killed With an Apple Corer, She Asks What Does That Make Me."

    The Uses of the Body is her best book, its acerbic tone interspersed with lines of grave and startling beauty.” —Los Angeles Times"Like Richard Linklater's Boyhood,but for girls (and women): Deborah Landau's vividly relatable third collection, The Uses of the Body, reminds us that coming of age lasts well beyond adolescence.” —Vogue* “As freshly immediate as ever, award-winning poet Landau reveals that ‘the uses of the body are manifold,’ moving in four sections with a roughly chronological feel from wedding parties to flabby bodies around the pool to the realization ‘But we already did everything’—all with an underlying sense of urgency: ‘Life please explain.’ As Landau explores her physical self and her sexuality, she’s tart, witty, fluid, direct, and brutally honest, and her work can be appreciated by any reader.”—Library Journal,starred review"Deborah Landau . . . is both confessional and direct, like Sylvia Plath and Allen Ginsberg. Her taut, elegant, highly controlled constructions meditate upon yearning and selfhood."—BooklistDeborah Landau's Uses of the Body presents the very specific challenges of womanhood. Her poems address what it means to be alive—right now—in a female body. She fills her poetry with compelling nouns: wine glasses, bridal gowns, and "books and teacups and ghosts." And what ghosts: underneath evocative images and poetic play, there's a moving, yearning mysticism.From "Mr and Mrs End of Suffering":The uses of the body are wake up.The uses of the body, illusion.The uses of the body. Rinse repeat.To make another body.September. Draw the blanket up.Lace your shoes.The major and minor passions. Sunlight. Hair.The basic pleasures. Tomatoes, Keats, meeting a smart man for a drink.The uses of the body.It is only a small house. It gets older.Its upper and lower.Its red and white trim.It's tempting to gloss over this part,so you won't really see me.Deborah Landau is the author of two books of poetry. She was educated at Stanford, Columbia, and Brown, where she earned her PhD. Currently she is the director of the NYU Creative Writing Program and lives in New York City.

    could have predicted the delayed depth-charge of this explosive second book, motored by vividly earthly language and disguised philosophical sophistication." —Publishers Weekly, starred review"Throughout Made Flesh, one of the most powerful poetry books this year, Arnold gets at both the contradictions and timelessness of love." —Time Out New York"The readers delighted with (Arnold's) first book (Shells) will be differently enchanted with these. They contain a wealth of contemplation as well as observation and experience. Their unpunctuated free style carries the reader into the poems, piling up events and details in a breathless rush....The poems of Made Flesh are unforgettable, and it is tragic that readers will have no new books from Craig Arnold."—Magill Book ReviewsA girl wakes up to find out just how completely her lover has possessed her. A couple realizes they’ve been trapped inside an ancient myth. A traveler glances out through a train window and catches the dim reflection of another world.This is the world of Made Flesh, the long-awaited second book by Craig Arnold, a finalist for the Utah Book Award and the High Plains book award. Made Flesh delineates a new mythology of what it means to be in the body. Marrying narrative precision to lyric ecstasy, the archaic to the avant-garde, these poems celebrate the fragility of our very selves and “the joy of self-forgetting,” the acts of surrender that loves asks of us. Fierce, exuberant, and erotic, they invite the reader to share a rare and startling vision: how, if we would only permit ourselves to be drawn out of our mental privacies, out to the very surface of our skin, we might admit the beauty of being for a moment in the world, and with each other.Craig Arnold is the author of Shells, a Yale Series of Younger Poets selection chosen by W.S. Merwin. He taught at the University of Wyoming in Laramie. In late April 2009, Craig Arnold went missing on the Japanese island of Kuchinoerabu-jima, where he was working on a book about volcanoes as part of a Creative Artists' Exchange Fellowship from the Japan-United States Friendship Commission. He was forty-one years old.

    Driving through the Chihuahua Desert, they retrace the route of 19th century American writer Ambrose Bierce (who disappeared during the Mexican Revolution) and try to piece together their lives after a devastating incident involving their adolescent son. With tenderness and precision, Gander explores the intimacies of the couple's relationship as they travel through Mexican towns, through picturesque canyons, and desert capes, on a journey through the heart of the Mexican landscape. Taking a shortcut through the brutally hot desert home, their car overheats miles from nowhere, the story spinning out of control, with devastating consequences.

    Space Struck explores the wonders and cruelties occurring within the realms of nature, science, and religion, with the acuity of a sage, the deftness of a hunter, and a hilarious sensibility for the absurd. The universe is seen as an endless arrow “. . . and it asks only one question: How dare you?”The poems are physically and psychologically tied to the animal world, replete with ivory-billed woodpeckers, pelicans, and constellations-as-organisms. They are also devastatingly human, well anchored in emotion and self-awareness, like art framed in a glass that also holds one’s reflection. Silky and gruesome, the poems of Space Struck pulse like starlight.

    A beautiful little book of short, simple, classic and contemporary poems to dip into, to make life feel better.From Shakespeare and Shelley to Lemn Sissay and Kate Tempest, poets have always been the best at showing us we're not alone, however sh*t things might seem.Funny, reflective, romantic and life-affirming - here is an anthology of poems to remind you to keep on looking at the stars: from that first 'what the f*ck' moment to empowering you to do something about this sh*t and ultimately realising that life is still beautiful after all.Rediscover old favourites and find some new treasures - you might be surprised just how much poetry can help.

    (It was John Findura in Verse Magazine.) She's also been compared to comedian Sarah Silverman, artist Jeff Koons, a 10-year-old who can't keep her mouth shut, and cartoonist R. Crumb. None of these equations is quite right, however. Jennifer L. Knox's work is unmistakably her own: darkly hilarious, surprisingly empathetic, utterly original. DRUNK BY NOON is the eagerly awaited sequel to Knox's first book, A GRINGO LIKE ME, which is also available from Bloof in a new edition. Jennifer L. Knox is a three-time contributor to the Best American Poetry Series and her poems have also appeared in Great American Prose Poems and Great American Erotic Poems. For more information, see www.jenniferlknox.com.

     Bone. Visceral. Close to. Stark. The poems in Yrsa Daley-Ward's collection bone are exactly that: reflections on a particular life honed to their essence--so clear and pared-down, they become universal. From navigating the oft competing worlds of religion and desire, to balancing society's expectations with the raw experience of being a woman in the world; from detailing the experiences of growing up as a first generation black British woman, to working through situations of dependence and abuse; from finding solace in the echoing caverns of depression and loss, to exploring the vulnerability and redemption in falling in love, each of the raw and immediate poems in Daley-Ward's bone resonate to the core of what it means to be human. "You will come away bruised. You will come away bruisedbut this will give you poetry."

    E. Housman's A Shropshire Lad, first published in 1896. Scholars and critics have seen in these timeless poems an elegance of taste and perfection of form and feeling comparable to the greatest of the classic. Yet their simple language, strong musical cadences and direct emotional appeal have won these works a wide audience among general readers as well.This finely produced volume, reprinted from an authoritative edition of A Shropshire Lad, contains all 63 original poems along with a new Index of First Lines and a brief new section of Notes to the Text. Here are poems that deal poignantly with the changing climate of friendship, the fading of youth, the vanity of dreams — poems that are among the most read, shared, and quoted in our language.

    I come into the presence of still water.And I feel above me the day-blind stars waiting with their light. For a timeI rest in the grace of the world, and am free.The poems of Wendell Berry invite us to stop, to think, to see the world around us, and to savour what is good. Here are consoling verses of hope and of healing; short, simple meditations on love, death, friendship, memory and belonging; luminous hymns to the land, the cycles of nature and the seasons as they ebb and flow. Here is the peace of wild things.

    Weaving between whispered science and circus, Campbell turns a cracked mirror on society and asks who gets to control the twisted tales hiding in the wings. Jen Campbell received an Eric Gregory Award in 2016, is Vlogger in Residence for the Poetry Book Society, and was a judge of the Forward Prize in 2018. She talks about books, fairy tales and disfigurement at youtube.com/jenvcampbell. She lives in London.

    Henriksen opens ORDINARY SUN by insisting that "an eye is not enough." Resisting solipsism, these poems negotiate that conflict between the mind and what exists outside the mind. Though pain intrinsically resides in that conflict Henriksen strives for an honest happiness, a kind of gorgeous suffering that blesses our days. To this end, these poems emerge from images of all those innumerable things that embody both visceral and ethereal beauty rocks, trees, broken glass, baseball, angels.... Here we find immediacy immersed in the image, and in the reading of these poems becomes ourselves immersed in the immediate."

    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.