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The Myth of Water is a cycle of thirty-four poems by award-winning Alabama poet and writer Jeanie Thompson in the voice of world-renowned Alabamian Helen Keller. In their sweep, the poems trace Keller’s metamorphosis from a native of a bucolic Alabama town to her emergence as a beloved, international figure who championed the rights of the deaf-blind worldwide.
 
Thompson’s artfully concatenated vignettes form a mosaic that maps the insightful mind behind the elegant and enigmatic persona Keller projected. Thompson takes readers on the journey of Keller’s life, from some of the thirty-seven countries she visited, including the British Isles, Europe, and Japan to the wellsprings of her emotional awakening and insight. The poems are paired with fascinating biographical anecdotes from Keller’s life and samplings from her writing, which infuse the work with richly-rewarding biographical detail.
 
The poems in The Myth of Water reveal the discerning subtlety, resiliency, and complexity of the person Thompson perceives Helen Keller to have been. Through a combination of natural intuition, manual signs, Braille alphabets, and lip reading, Keller came to grasp the revolving tapestry of the seasons and the infinite colors of human relationships.
 
Not a biography or a fictional retelling, The Myth of Water attempts to unlock what moved Keller to her life of service and self-examination. This is a deeply personal story of coming through—not overcoming—a double disability to a fully realized life in which a woman gives her heart to the world.

The Nail in the Tree meditates on crucial subjects in devastating circumstances, exploring how childhood can be violent and generative, how trauma integrates in art and daily life, and what the artist’s role is. In this part memoir, part art-historical treatise, Carol Ann Davis narrates her experience of raising two sons in Sandy Hook, Connecticut, on the day of and during the aftermath of the shooting there. She describes revelations her children come to in the weeks that follow, quietly echoes the words of a principal on that day, and recounts painful series of texts and calls to further and further distant family members. She writes in beautiful, devastating, poetic language.

A field guide to perception, The Name of Birds is about how we see the “natural world.” That is, how we approach what isn’t us and name what we see. It also offers detailed observations of common North American birds.

Coming of age in Brooklyn's Bay Ridge, these poems explore what it is to be an Irish American Catholic; a dutiful son of hard drinking, sometimes hilarious and sometimes tragic parents; a son of Brooklyn; and, too, deeply rooted to the country of his ancestors, Ireland. Dark, funny, and sometimes troubling, these poems, always accessible, track a life well lived and felt.

 In The Necropastoral: Poetry, Media, Occults, poet Joyelle McSweeney presents an ecopoetics and a theory of Art that reflect such biological principles as degradation, proliferation, contamination, and decay. In these ambitious, bustling essays, McSweeney resituates poetry as a medium amid media; hosts “strange meetings” of authors, texts, and artworks across the boundaries of genre, period, and nation; and examines such epiphenomena as translation, anachronism, and violence. Through readings of artists as diverse as Wilfred Owen, Andy Warhol, Harryette Mullen, Roberto Bolaño, Aimé Césaire, and Georges Bataille, The Necropastoral shows by what strategies Art persists amid lethal conditions as a spectacular, uncanny force.

The Neighbor is a book of portraits and portraiture. Like the eccentric and mysteriously heroic citizens of E. A. Robinson's Tilbury Town, Collier's figures haunt a startlingly familiar neighborhood. In clear, rich language, Collier reveals the complexities that emerge from his characters' seemingly uneventful lives.

The image is so well known it is practically iconic: The reclusive poet, feminine and fragile, weaving verse of beguiling complexity from the room in which she kept herself sequestered from the world. The Belle of Amherst, the distinctive American voice, the singer of the soul’s mysteries: Emily Dickinson.
 
Yet that image scarcely captures the fullness and vitality of Dickinson’s life, most notably her many connections—to family, to friends, to correspondents, to the literary tastemakers of her day, even to the unnamed, and perhaps unknowable, “Master” to whom she addressed three of her most breathtaking works of prose. Through an exploration of a relatively small group of items from Dickinson’s vast literary remains, this volume—an accompaniment to an exhibition on Dickinson mounted at The Morgan Library & Museum in New York—demonstrates the complex ways in which these often humble objects came into conversation with other people, places, and events in the poet’s life. Seeing the network of connections and influences that shaped Dickinson’s life presents us with a different understanding of this most enigmatic yet elegiac poet in American letters, and allows us more fully to appreciate both her uniqueness and her humanity.
 
The materials collected here make clear that the story of Dickinson’s manuscripts, her life, and her work is still unfolding. While the image of Dickinson as the reclusive poet dressed only in white remains a popular myth, details of Dickinson’s life continue to emerge. Several items included both in the exhibit and in this volume were not known to exist until the present century. The scrap of biographical intelligence recorded by Sarah Tuthill in a Mount Holyoke catalogue, or the concern about Dickinson’s salvation expressed by Abby Wood in a private letter to Abiah Root, were acquired by Amherst College in the last fifteen years. What additional pieces of evidence remain to be uncovered and identified in the attics and basements of New England?
 
Published to accompany The Morgan Library & Museum’s pathbreaking exhibit I’m Nobody! Who are You? The Life and Poetry of Emily Dickinson—part of a series of exhibits at the Morgan celebrating and exploring the creative lives of significant women authors—The Networked Recluse  offers the reader an account of the exhibit itself, together with a series of contributions by curators, scholars of Dickinson, and poets whose own work her words have influenced.
 

Bringing together fifty years of exciting modernisms, The New Anthology of American Poetry, Volume 2 includes over 600 poems by sixty-five American poets writing in the period between 1900 and 1950. The most recognized poets of the era, such as William Carlos Williams, Ezra Pound, Wallace Stevens, T. S. Eliot, H. D., Gertrude Stein, Robert Frost, Marianne Moore, Hart Crane, and Langston Hughes are represented, along with many other Harlem Renaissance poets, women poets, immigrant and working-class poets, imagists, and objectivists. It is also the first modernist anthology to include poems and songs from popular culture.

Steven Gould Axelrod, Camille Roman, and Thomas Travisano continue the standard of excellence set in Volumes I and II of this extraordinary anthology. Volume III provides the most compelling and wide-ranging selection available of American poetry from 1950 to the present. Its contents are just as diverse and multifaceted as America itself and invite readers to explore the world of poetry in the larger historical context of American culture.

Nearly three hundred poems allow readers to explore canonical works by such poets as Elizabeth Bishop, Robert Lowell, and Sylvia Plath, as well as song lyrics from such popular musicians as Bob Dylan and Queen Latifah. Because contemporary American culture transcends the borders of the continental United States, the anthology also includes numerous transnational poets, from Julia de Burgos to Derek Walcott. Whether they are the works of oblique avant-gardists like John Ashbery or direct, populist poets like Allen Ginsberg, all of the selections are accompanied by extensive introductions and footnotes, making the great poetry of the period fully accessible to readers for the first time.

Volume I begins with a generous selection of Native American materials, then spans the years from the establishment of the American colonies to about 1900, a world on the brink of World War I and the modern era. Part One focuses on poetry from the very beginnings through the end of the eighteenth century. The expansion and development of a newly forged nation engendered new kinds of poetry. Part Two includes works from the early nineteenth century through the time of the Civil War. The poems in Part Three reflect the many issues affecting a nation undergoing tumultuous change: the Civil War, immigration, urbanization, industrialization, and cultural diversification.

Such well-recognized names as Anne Bradstreet, Edward Taylor, Phillis Wheatley, Edgar Allan Poe, Herman Melville, Walt Whitman, Emily Dickinson, and Stephen Crane appear in this anthology alongside such less frequently anthologized poets as George Horton, Sarah Helen Whitman, Elizabeth Oakes-Smith, Frances Harper, Rose Terry Cooke, Helen Hunt Jackson, Adah Menken, Sarah Piatt, Ina Coolbrith, Emma Lazarus, Albery Whitman, Owl Woman (Juana Manwell) Sadakichi Hartmann, Ernest Fenollosa, James Weldon Johnson, Paul Laurence Dunbar, and—virtually unknown as a poet—Abraham Lincoln. It also includes poems and songs reflecting the experiences of a variety of racial and ethnic groups.

The New Apologists for Poetry was first published in 1956. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

The author's purpose is to clear the ground for a systematic aesthetics of poetry consistent with the insights of our most influential contemporary literary critics. The book is concerned with those of the so-called "new critics" who are trying to answer the need, forced on them by historical and cultural pressures, to justify poetry by securing for it a unique function for which modern "scientism" cannot find a substitute.

This volume provides intensive analyses of work by critics of several persuasions: T. E. Hulme, T. S. Eliot, I. A. Richards, John Crowe Ransom, Yvor Winters, Allen Tate, and Cleanth Brooks, and, for purposes of contrast, D. G. James, R. S. Crane, Elder Olson, and Max Eastman.

Allen Tate, the poet and critic, writes: "Mr. Krieger's book is the most searching in scholarship and the most profound in critical analysis of the existing books in this field."

Robert B. Heilman, critic and teacher, comments: "The author's knowledge of a complex field and his mastery of the analytical techniques which he is applying to a chosen set of critical positions are very impressive. He not only clarifies the positions of various contemporary critics by examining them in the light of the same set of general principles, but also provides some helpful, at times brilliant, insights into the works of various critics from the Greeks up to the present. He traces the history of concepts and thus establishes relationships among individual critics and critical schools."

The New Babel: Toward a Poetics of the Mid-East Crises evokes and investigates—from a Jewish American perspective and in the forms of poetry, essays, and interviews—the Israeli-Palestinian conflict, America’s involvement as both perpetrator and victim of events in the Middle East and Afghanistan, and the multiple ways that poetics can respond to political imperatives.

The poems range from the immediately lyrical to the experimental forms of the “Apple Anyone Sonnets” series, which relies heavily on the Arabic but has Shakespeare as its scaffolding.

In the essays, Schwartz calls on the power of poetry—and of some of the great poets in the Arabic, Jewish, and American traditions—to help rethink the battle lines of the contemporary Mid-East, with the Jewish philosopher Martin Buber looming large.

The interviews provide Schwartz’s discussions with Israeli poet and activist Aharon Shabtai, political philosopher Michael Hardt, and the late, great American poet Amiri Baraka.

In these creative, analytical, and conversational moments, Leonard Schwartz rethinks the battle lines of the contemporary Middle East and calls on the power of language as the essence of our humanity, endlessly fluid, but also the source of an intentional confusion there is a necessity to counter.

The News from Poems examines a subgenre of recent American poetry that closely engages with contemporary political and social issues. This “engaged” poetry features a range of aesthetics and focuses on public topics from climate change, to the aftermath of recent wars in Afghanistan and Iraq, to the increasing corporatization of U.S. culture.

The News from Poems brings together newly commissioned essays by eminent poets and scholars of poetry and serves as a companion volume to an earlier anthology of engaged poetry compiled by the editors. Essays by Bob Perelman, Steven Gould Axelrod, Tony Hoagland, Eleanor Wilner, and others reveal how recent poetry has redefined our ideas of politics, authorship, identity, and poetics.

The volume showcases the diversity of contemporary American poetry, discussing mainstream and experimental poets, including some whose work has sparked significant controversy. These and other poets of our time, the volume suggests, are engaged not only with public events and topics but also with new ways of imagining subjectivity, otherness, and poetry itself. 
 

"In America today there is no lyric work more compelling and well made than To the Center of the Earth," Allen Grossman wrote ten years ago of Michael Fried's last collection of poetry. Fried's new book, The Next Bend in the Road, is a powerfully coherent gathering of lyric and prose poems that has the internal scope of a novel with a host of characters, from the poet's wife and daughter to Franz Kafka, Paul Cézanne, Osip Mandelstam, Sigmund Freud, Gisèle Lestrange, and many others; transformative encounters with works of art, literature, and philosophy, including Heinrich von Kleist's "The Earthquake in Chile," Giuseppe Ungaretti's "Veglia," and Edouard Manet's Le Déjeuner sur l'herbe; and, running through the book from beginning to end, a haunted awareness of the entanglement of the noblest accomplishments and the most intimate joys with the horrors of modern history.

"For me the act of writing is an exploration, a reaching out, an act of trusting search for the correct incantation that will return me certain feelings whenever I want them. And of course I have never completely succeeded in finding the correct incantations." --Thom Gunn
Thom Gunn is well-known as a poet, and increasingly as a literary critic. The Occasions of Poetry includes insightful critical pieces on writers ranging from William Carlos Williams and Gary Snyder to Thomas Hardy and Robert Duncan. "The occasion in all cases," writes Gunn, "is the starting point, only, of a poem, but it should be a starting point to which the poet must in some sense stay true." The first loyalty of a writer who is "true to his occasions," he writes, must be to the facts of experience.
The book includes five autobiographical essays, which combine to form an engaging account of the author's development as a poet and to chronicle some of the most significant literary currents of recent decades, both in England and America.
Thom Gunn, born in England in 1929, has lived in America since 1954. His books include Shelf Life: Essays, Memoirs, and an Interview; The Man with Night Sweats; Collected Poems; and The Passages of Joy. The Occasions of Poetry was originally published by Faber and Faber.

The Odyssey is considered to be one of the greatest pieces of world literature. Its basic story--the homecoming of Odysseus--is widely known. Although it has often been translated, earlier versions do not give the reader the full sense of its oral epic nature as a song that came into being through a long tradition of sung performances before writing was widely practiced. When finally written down, it retained its oral-formulaic nature in ways that are clearly discernible, and which this translation successfully captures. Rodney Merrill strictly adheres to the use of dactylic hexameter, the meter by which the formulaic language of Homeric poetry is rendered as musical phrasing rather than as a simple repetition of ideas. Reading this version--especially aloud--will grant both students and teachers fresh insight into the nature of Greek epic and Homer's song about one of the most famous characters of all time.
This epic began life as the music composed by a "singer of tales," not as words on a page. As such, its meter allows for pleasing variations with a strong basic "beat," thus providing a rhythmic impetus that carries the story swiftly forward. The resulting "music" has important repercussions for the reader's perception of the many repeated elements that provide structure for the poem and bring out significant themes, just as the repetitions in a piece of music do.
This edition of the Odyssey includes selections for further reading, a list of proper names (with a guide to pronunciation), and three maps. It also provides introductory discussions of how the work came into being and was transmitted until it became the work we read, how it is divided into six "performance sessions" of four books each, and how the poem's various themes are developed. Rodney Merrill's Odyssey is thus an ideal edition for students, teachers, and general readers.
The audiobook is available on twelve cassettes, and is read by Rodney Merrill. This version will bring Homer's epic masterpiece to life like never before. Perfect for the car or classroom!
Rodney Merrill is retired and an independent scholar. He has taught at Stanford University, the University of San Francisco, and the University of California, Berkeley.
Thomas R. Walsh, Senior Professor at Occidental College, has written articles on Homeric poetics, with a forthcoming book on anger in Homer.

The poems in The Off-Season are populated with things—'90s TV shows, mixtapes, crosstown buses, winter beaches—signifiers that trace a trajectory from girlhood to adulthood and bring to the surface feelings and desires that ordinarily stay hidden. We witness the strangeness of modern life, relive our own adolescent awkwardness and listen in on conversations with dead poets, TV characters, family members and intimates. With humor, fierceness and generosity, The Off-Season grapples with the question of how to be in the world.

Noise from Typewriter Keys is the tenth volume in the independent literary series, The Offbeat, devoted to publishing a diverse collection of voices, and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State Undergraduates, and is centered in East Lansing. The mission of The Offbeat is to provide an alternative literary outlet for writers from Michigan and beyond, and to call attention to voices both emerging and established.
     The Offbeat: Noise from Typewriter Keys is an ensemble of voices and eruptions heard from the inside and out. This volume includes a wide variety of writers and focuses on the ambition of new creation. This part of the series seeks to capture movement of a writer while exploring the varied sounds that come from imagination.

Ovid's Art of Love (Ars Amatoria) and its sequel Remedies for Love (Remedia Amoris) are among the most notorious poems of the ancient world. In AD 8, the emperor Augustus exiled Ovid to the shores of the Black Sea for "a poem and a mistake." Whatever the mistake may have been, the poem was certainly the Ars Amatoria, which the emperor found a bit too immoral.
            In exile, Ovid composed Sad Things (Tristia), which included a defense of his life and work as brilliant and cheeky as his controversial love manuals. In a poem addressed to Augustus (Tristia 2), he argues, "Since all of life and literature is one long, steamy sex story, why single poor Ovid out?" While seemingly groveling at the emperor's feet, he creates an image of Augustus as capricious tyrant and himself as suffering artist that wins over every reader (except the one to whom it was addressed).
            Bringing together translations of the Ars Amatoria, Remedia Amoris, and Tristia 2, Julia Dyson Hejduk's The Offense of Love is the first book to include both the offense and the defense of Ovid's amatory work in a single volume. Hejduk's elegant and accurate translations, helpful notes, and comprehensive introduction will guide readers through Ovid's wickedly witty poetic tour of the literature, mythology, topography, religion, politics, and (of course) sexuality of ancient Rome.

Finalist, National Translation Award, American Literary Translators Association 

A Choice Outstanding Academic Book

Seasons for Fasting, a late Old English poem probably composed in the early eleventh century, focuses on proper fasting observances in England. This poem, composed in eight-line stanzas, survives only in a sixteenth-century transcript made by the antiquary Laurence Nowell. With its topics, vocabulary, sources, and style derived from those of contemporary ecclesiastical prose, it belongs to a school of late tenth/early eleventh century poetry that only now is coming to be recognized and defined.

The Old English Poem Seasons for Fasting: A Critical Edition provides a new text and translation of the poem, accompanied by an extensive introduction, commentary, and glossary. The introduction includes analyses of the poem’s manuscript origins, sources, language, meter, style, and structure. The text is collated with all previous editions. The commentary elucidates points of grammar and style, and justifies all editorial decisions. The glossary covers every instance of each word in the poem.

Since its discovery among the papers of Laurence Nowell in 1934, the poem has had only four editions, two of the text with basic notes, and two in doctoral theses with more commentary and analysis. This new edition brings the latest resources on manuscript study, lexicon (through the Concordance and Dictionary of Old English A-G), poetics, and cultural milieu to bear on this fascinating poem. The apparatus, including the glossary, will allow fellow scholars to extend these findings through links to their own work.

In Joshua Mehigan’s award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint.

The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan’s poems explore death, desire, and change with a mixture of reason and compassion.

In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote:

“The world is given its due in these poems, but its due is the subjective voice making ‘objective’ reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn’t that Mehigan is concerned more with what’s outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It’s also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder.”

H. T. Kirby-Smith offers a far-ranging and intellectually engaging study of the literary history of the debated genre of free verse, aimed not at perpetuating a particular dispute but instead at discovering the generative points of this often celebrated, often maligned form.
Though free verse became a dominant poetic mode only in the twentieth century, Kirby-Smith finds its roots in seventeenth-century England. Beginning his study with writers such as John Milton--who was considered by T. S. Eliot to be the greatest writer of free verse in English--the author places recent and divisive topics in poetics in context, showing them to be attenuated remnants of issues first broached hundreds of years ago.
The book seeks to establish a consensus on the nature of free verse, with reference to critics and poets including Pound, Eliot, Williams, Amy Lowell, Yvor Winters, and Hugh Kenner. Good free verse, argues Kirby-Smith, arises as a reaction to a well-established set of conventions. Likewise, The Origins of Free Verse goes against the conventions of existing poetic scholarship, offering an encompassing yet fresh--and controversial--literary history of free verse.
"At moments, this study is revelatory. . . . In its range and detail it offers a way of thinking about the history of English-language prosody which recognizes the importance of the poet's individual choices and undercuts our century's vanity. . . . Poetry is a learned art, and Kirby-Smith brings both insight and much learning to reading it." --Times Literary Supplement
"The best study of free verse I have seen. . . . The Origins of Free Verse is a book that all students of prosody will want to read. " --Harvard Review
". . . a witty and polemical account of the emergence and development of free verse." --Choice
H. T. Kirby-Smith is Professor of English, University of North Carolina at Greensboro.

Studies of the English Romantic poets generally portray them either as transcending the workings of capitalism or as working in complicity with an entrepreneurial economy. In The Orphaned Imagination, Guinn Batten challenges standard accounts of Romantic poetry and argues that Wordsworth, Byron, Blake, Shelley, Keats, and Coleridge—each of whom suffered the loss of a father or father-figure at an early age—possessed an orphan’s special insight into the dynamics and aesthetics of commodity culture and its symptomatic melancholia.
Building on the theoretical insights of Slavoj Zizek, Judith Butler, Julia Kristeva, and Eve Kosofsky Sedgwick, Batten interweaves the discourses of psychoanalysis, economics, biography, sexuality, melancholy, value, and exchange to question accepted ideas of how Romantic poetry works. She asserts that poetic labor is in fact paradigmatic of the kinds of production—and the kinds of desire—that capitalist culture renders invisible. If symbolic exchange, in cash or in words, requires the surrender of a beloved object, if healthy mourning requires an orphan to “work through” emotional loss through the consolation of art or a love for the living, then the rebellious Romantic poet, Batten contends, possessed unique insight into the alternative authority of a poetic language that renounced a culture of denial. Batten urges that scholars move beyond critical approaches condemning allegedly regressive forms of pleasure, recognizing that they, too, are haunted by melancholic attachments to dead poets as they conduct their work.
The Orphaned Imagination will interest anyone concerned with the claims of the English Romantic poets to a distinctive, valuable form of knowledge and those who may wonder about the power of contemporary theory to illuminate a traditional field.

The Other Lover is a collection of bittersweet American love poems. Writing with jazz-like verbal panache, Bruce Smith reaches for the paradoxical pulls between sweetness and bitterness. With carefully crafted rhyming stanzas and unpredictable free verse rhythms, these poems bristle and pop like the riffs of a virtuoso horn player. The book is a personal, passionate, disturbing collection that places the reader both inside and outside of the poet's life. Deftly filtering personal experiences through improvisatory structures and a wide range of idioms, Smith communicates the want, the lack, the desire for what is missing, the sweetness of absence and pain. The pleasure of The Other Lover is in the imagination's dance in the erotic spaces between the poet and the reader.

In The Oval Hour Kathleen Peirce addresses the vulnerability of language—which is to say the vulnerability of our reality—when we are in extreme states of desire and loss, especially erotic desire and erotic loss. Central to the book is its series of "Confessions," twenty formally similar poems that contend with the Confessions of Saint Augustine.“Passing through innocence, I came either to experience / or guilt, or they came to me, displacing innocence”: these luminous poems explore the generation and overlapping of carnal and metaphysical identities.

In The Owl Was a Baker’s Daughter, Gillian Cummings gives voice to her version of Ophelia, a young woman shattered by unbearable losses, and questions what makes a mind unwind till the outcome is deemed a suicide. Ophelia’s story, spoken quietly, lyrically, in prose poems whose tone is unapologetically feminine, is bracketed by short, whittled-down once-sonnets featuring other Ophelias, nameless “she” and “you” characters who address the question of madness and its aftermath. These women and girls want to know, what is God when the soul is at its nadir of suffering, and how can one have faith when living with a mind that wants to destroy itself?

If it is true, as Joseph Campbell said, that “the psychotic drowns in the same waters in which the mystic swims with delight,” then Cummings strains the boundaries of this notion: “Is it the same? The desire to end a life / and the need to know how: a flower’s simple bliss?” Her women and girls, part “little heavenling” and part “small hellborn,” understand the emptiness of utmost despair and long for that other emptiness, which can be thought of as union with God, the death of the troublesome ego. Cummings’s poetic ancestors may be Dickinson and Plath and her source here Shakespeare, but more contemporary voices also echo in her poems, those of Lucie Brock-Broido, Larissa Szporluk, and Cynthia Cruz. Here, in The Owl Was a Baker’s Daughter, is what might happen if, after sealing off the doors and turning on the gas, indeed, after dying, a poet had come to embrace the holiness in how “all dissolves: one color, / one moon, all earth, red as love, red as living.”

In her newest collection, award-winning poet and memoirist Jennifer Militello confronts obsession, intimacy, and abuse. Through love poems inspired by such disparate spaces as a British art museum and the reptile house of a local zoo, poems comparing a romantic affair to the religious cult at Jonestown and a mother’s role to a Congolese power figure bristling with nails, The Pact offers an indictment against affection and a portent against zeal. This book places pleasure alongside pain, even as it delivers Militello’s trademark talent for innovation and ritualization of the strange.

The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves.

Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems.

The Palace of Bones was selected by final judge and Pulitzer Prize winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its author’s self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe.

The Palace of Bones is a stunning debut.

In these poems, Teresa Cader undertakes three poetic explorations, all of them deriving from the book's opening image of a paper wasp spinning its white nest on a terrace in ancient China. The paper universe assembled by the wasp teems with both destructive and creative forces and will lead to the invention of paper and the power of writing. The book's first section explores the mystery of creativity; the second looks beneath the papery surface of the nest at the connection between physical and figurative birth. "Internal Exile," winner of the Poetry Society of America's 1997 George Bogin Memorial Award, forms the third section of the collection, addressing the invasion of the nest by destructive powers in the example of the life of Soviet writer Eugenia Ginzburg.

The PassionBook is the most famous work of erotica in the vast literature of Tibetan Buddhism, written by the legendary scholar and poet Gendun Chopel (1903-1951). Soon after arriving in India in 1934, he discovered the Kama Sutra. Realizing that this genre of the erotic was unknown in Tibet, he set out to correct the situation. His sources were two: classical Sanskrit works and his own experiences with his lovers. Completed in 1939, his “treatise on passion” circulated in manuscript form in Tibet, scandalizing and arousing its readers.
 
Gendun Chopel here condemns the hypocrisy of both society and church, portraying sexual pleasure as a force of nature and a human right for all. On page after page, we find the exuberance of someone discovering the joys of sex, made all the more intense because they had been forbidden to him for so long: he had taken the monastic vow of celibacy in his youth and had only recently renounced it. He describes in ecstatic and graphic detail the wonders he discovered. In these poems, written in beautiful Tibetan verse, we hear a voice with tints of irony, self-deprecating wit, and a love of women not merely as sources of male pleasure but as full partners in the play of passion.