Emerging out oa a life in shich, the poet's words, "each day was the only day", Menasches work has a mysterious simplicity, a religious intensity, and a lingering emotional force.

    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.

    Fountain’s voice is at once deep and loose, enacting the dawning of spiritual insight, but without leaving the daily world, matching the feeling of the “pure holiness in motherhood” with the “thuds the giant dumpsters make behind the strip mall when they’re tossed back to the pavement by the trash truck.” In these wise, accessible, deeply emotional poems, she captures a contemporary longing for spiritual meaning that’s wary of prepackaged wisdom—a longing answered most fully by attending to the hustle and bustle of everyday life.

    Women are making massive strides in gender equality, edging out men as the new majority in the workforce. But, because of their brief window for childbearing, this also means a drastically shifting paradigm for motherhood and family planning. In this 2nd edition, Lehmann-Haupt has updated the inspiring, honest account of her own efforts to reconcile modern love with modern life with the latest medical research. In Her Own Sweet Time will resonate with a generation of young women who want it all—career, family, and the perfect partner— but haven’t yet figured out how it all fits together. Join Lehmann-Haupt as she interviews women and travels the world to explore and understand the new frontiers of family.

    Rankine's short, lyric poems are sharp, agonized, and exquisite, exploring themes of doubt and identity. The collection's sense of continuity and coherence comes through recurring poem types, including "still lifes," "instructions," and "symptoms."From "Symptoms of Aftermath":…When I am saved, a slim nurseleans out of the white light. I needto hear your voice, sweetheart. I seemy escape. I walk into the water.The sky is blue like the ocean,which is blue like the sky.Camille Rankine is the author of the chapbook Slow Dance with Trip Wire, selected by Cornelius Eady for the Poetry Society of America's Chapbook Fellowship. The recipient of a 2010 "Discovery" / Boston Review Poetry Prize and a MacDowell fellowship, her poetry appears in Boston Review, Denver Quarterly, Tin House, and other publications. Currently, she is assistant director of the MFA program in creative writing at Manhattanville College and lives in Harlem.

    Opening with the title poem, a memorable elegy to the poet's mother, the book features a haunting series of poems that evoke Walcott's native ground, the island of St. Lucia. "For almost forty years his throbbing and relentless lines kept arriving in the English language like tidal waves," Walcott's great contemporary Joseph Brodsky once observed. "He gives us more than himself or 'a world'; he gives us a sense of infinity embodied in the language."

    "Alabanza" means "praise" in Spanish, and Espada praises the people Whitman called "them the others are down upon": the African slaves who brought their music to Puerto Rico; a prison inmate provoking brawls so he could write poetry in solitary confinement; a janitor and his solitary strike; Espada's own father, who was jailed in Mississippi for refusing to go to the back of the bus. The poet bears witness to death and rebirth at the ruins of a famine village in Ireland, a town plaza in México welcoming a march of Zapatista rebels, and the courtroom where he worked as a tenant lawyer. The title poem pays homage to the immigrant food-service workers who lost their lives in the attack on the World Trade Center. From the earliest out-of-print work to the seventeen new poems included here, Espada celebrates the American political imagination and the resilience of human dignity. Alabanza is the epic vision of a writer who, in the words of Russell Banks, "is one of the handful of American poets who are forging a new American language, one that tells the unwritten history of the continent, speaks truth to power, and sings songs of selves we can no longer silence." An American Library Association Notable Book of 2003 and a 2003 New York Public Library Book to Remember."To read this work is to be struck breathless, and surely, to come away changed."—Barbara Kingsolver "Martín Espada is the Pablo Neruda of North American authors. If it was up to me, I'd select him as the Poet Laureate of the United States."—Sandra Cisneros "With these new and selected poems, you can grasp how powerful a poet Espada is—his range, his compassion, his astonishing images, his sense of history, his knowledge of the lives on the underbelly of cities, his bright anger, his tenderness, his humor. "—Marge Piercy "Espada's poems are not just clarion calls to the heart and conscience, but also wonderfully crafted gems."—Julia Alvarez "A passionate, readable poetry that makes [Espada] arguably the most important 'minority' U.S. poet since Langston Hughes."—Booklist"Neruda is dead, but if Alabanza is any clue, his ghost lives through a poet named Martín Espada."—San Francisco Chronicle

    We usually only read about the best - about the bravery, the courage and the sacrifice of mountaineers who risk life and limb to achieve excellence for themselves and others. But there are other mountaineers – the charlatans, the conmen, the bullies, the petty-minded and narcissistic - who prefer to sacrifice others to their obsession to reach the top of Mt. Everest. This book is about one of the worst! In 1996, the deadliest year in the history of climbing Mt. Everest, both types were on the mountain. But in a cruel twist of fate the good guys died while the bad guy not only reached the top, but lived to prosper from it. In a piece of top class investigative journalism Ken Vernon delves into the guts of one dysfunctional expedition that, despite being supported by the iconic Nelson Mandela, became an international laughing stock. Everest ‘96 also peels back the layers of deception surrounding the fantastic past of the man who became the most reviled in mountaineering lore. Ken Vernon is an Australian journalist with decades of experience covering stories ranging from the African wars of Independence to the climbing of Mt Everest.

    She was determined to find a better life for herself, away from the oppression and isolation of her Satmar upbringing in Williamsburg, Brooklyn. And in Exodus, Revisited she delves into what happened next--taking the reader on a journey that starts with her beginning life anew as a single mother, a religious refugee, and an independent woman in search of a place and a community where she can belong. Originally published in 2014, Deborah has now revisited and significantly expanded her story, and the result is greater insight into her quest to discover herself and the true meaning of home. Travels that start with making her way in New York expand into an exploration of America and eventually lead to trips across Europe to retrace her grandmother's life during the Holocaust, before she finds a landing place in the unlikeliest of cities. Exodus, Revisited is a deeply moving examination of the nature of memory and generational trauma, and of reconciliation with both yourself and the world.

    Recollections of Farrar's father are prominent throughout the stories. Ultimately, it is music and musicians that are given the most space and the final word since music has been the creative impetus and driving force for the past 35 years of his life.In writing these stories, he found a natural inclination to focus on very specific experiences; a method analogous to the songwriting process. The highlights and pivotal experiences from that musical journey are all represented as the binding thread in these stories, illustrated throughout with photography from his life. If life is a movie, then these stories are the still frames.

    “Of all the women I’ve ever met,” Dan told a friend, “she’s the first one who felt like family.” But at Christmas, as they prepared for the birth of their first child, tragedy struck.Based on Daniel Raeburn’s acclaimed New Yorker essay, Vessels: A Love Story is the story of how he and Bekah clashed and clung to each other through a series of unsuccessful pregnancies before finally, joyfully, becoming parents. In prose as handsomely unadorned as his wife’s pottery, Raeburn recounts a marriage cemented by the same events that nearly broke it.Vessels is an unflinching, enormously moving account of intimacy, endurance, and love.

    What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices — Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras — in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time — embodied here in Lisa Robertson’s forceful cadences — can tell.‘Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully.’—The New York Times‘Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.’— The Village VoiceLisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

    Edited by Lee Ann Brown. SONNETS, first published in 1989 as Tender Buttons Number 1 is widely considered to be one of the most generative and innovative works of contemporary American poetry, radically rethinking the traditional sonnet form. This expanded 25th Anniversary edition includes a new preface by Bernadette Mayer, an editor's note by Tender Buttons Press publisher Lee Ann Brown, and a selection of previously unpublished archival material including the Skinny Sonnets, described as Hypnogogic Word Playing in Reporters' Notebooks which further expand our map of Bernadette Mayer's ground- breaking works of writing consciousness.

    But Donald Hall's poignant and courageous poetry, facing that dread fact, involves us all: the magnificent, humorous, and gifted woman, Jane Kenyon, who suffered and died; the doctors and nurses who tried but failed to save her; the neighbors, friends, and relatives who grieved for her; the husband who sat by her while she lived and afterward sat in their house alone with his pain, self-pity, and fury; and those of us who till now had nothing to do with it. As Donald Hall writes, "Remembered happiness is agony; so is remembered agony." Without will touch every feeling reader, for everyone has suffered loss and requires the fellowship of elegy. In the earth's oldest poem, when Gilgamesh howls of the death of Enkidu, a grieving reader of our own time may feel a kinship, across the abyss of four thousand years, with a Sumerian king. In Without Donald Hall speaks to us all of grief, as a poet lamenting the death of a poet, as a husband mourning the loss of a wife. Without is Hall's greatest and most honorable achievement -- his give and testimony, his lament and his celebration of loss and of love.

    Hannah's Hope is intended as a guide to assist you in making wise decisions as you struggle through your grief of not yet conceiving, losing a child, or struggling through the adoption process.