Poetry. With a voice as familiar as family, Rachel B. Glaser's second book of poems, HAIRDO, hilariously navigates the daily anxieties and fantasies of the writer's path through her own modern life. Writing through action movies, pornography, chat rooms, photo shoots on train tracks, crushes on teachers, and orchids in grocery stores, the poems in this book present us with emotional souvenirs of a curious and honest life lived. Bursting with Glaser's truly unique heart, her mega-watt wit and insightful eye, HAIRDO is a book you will find yourself reading at 3AM, not able to put it down. "I love every single piece of art that Rachel Glaser makes. If she dug a hole I would want to spend time in that hole, because I know it would be just as strange, delightful, and intriguing as her linguistic and pictorial creations. Hooray for HAIRDO, and long live this incomparable maker." -- Heather Christle "Rachel Glaser has shown me the paradise of this world with her poems. Every man, woman and the rest of us need to see ourselves as one another, as puddles, horses, as imperfect, and that is the paradise. And all of that is especially here in her newest book with a tremendous passion anyone who ever loved poetry must come back to life to read. If poetry is dead like some sad, weepy critics have declared, then Glaser is the resurrection the weepy along with her dedicated poetry citizens have needed " --CAConrad

Poetry. ELEGY FOR BOB KAUFMAN is poetry of elegance and feeling, a beautiful tribute to a "gone world." It speaks to the author's youthful memories of a great poet, Bob Kaufman--an enormously complex and difficult man. Cherkovski brings to life San Francisco's bohemian community in the late fifties and early sixties. "Neeli Cherkovski has written a magnificent tribute to the memory of Bob Kaufman. Neeli and Bob were close friends and true colleagues in the art of poetry. This gathering of poems is an expression of an era in San Francisco's North Beach literary community. I recommend it to all readers"--Eileen Kaufman.

"Winner of the 2021 Philip Levine Prize for Poetry - "You have to touch the fire of letters," writes Maya Pindyck in a startling collection of poems where we are forced to not look away from the war of language and its gouged field of bodies, blood, blossoms, and ideas. Here is the memory of a self and her home, bleakly dissonant as a war-stained country ... Impossible Belonging is defiant, immediate. Beyond geographies of war, love, and words, Pindyck commands the past, present, and future: "Remember our country/banning the book noting/our refusal to see./Remember this compass/mapping our last past"--

Gathered from nine collections representing three decades of work, these poems - newly available in a rich and varied volume celebrate the growth of a major artist. Since the publication of her first book of poetry, Halfway, Maxine Kumin has been powerfully and fruitfully engaged in the "stuff of life that matters" family, friendship, the bond between the human and natural world, and the themes of loss and survival.

From colonial times, through the Revolution and for over the one hundred and fifty years that followed, the lyric voice of New England has been dominant in our national poetry. The hardy strain which has continued through our entire history has retained its character while reflecting sharply changing fashions and new interests. In the three centuries sine Anne Bradstreet wrote with Puritan severity and yet with elaborate fantasy, a long and distinguished line of poets from the New England States has maintained, while constantly altering, a rich national tradition. Their roster includes a wide diversity of lyricists, moralists, revolutionists, mystics, skeptics, transcendentalists, impressionists, imagists and pastoral poets. They represent as no other regional writers the conscience and the eloquence of America. This volume is a rich harvest of verse that grew from the soil of New England. Thirty-three writers offer more than 300 poems, and each poet is generously represented. As Mr. Untermeyer says in his Foreward, “The prime objective of this work is to balance the familiar with the little known, to add to the pleasure of recognition the delight of discovery."

""Nautilus and Bone" chronicles the life and work of the radical, passionate Russian-Jewish American poet Anna Margolin on her path toward self-determination. Blending myth, surrealism, historical fact and fiction, this collection of persona poems brings to life one of the most celebrated Yiddish poets of her generation."--

"American readers who want to see rejuvenated form in untroubled action, giving brisk shape to contemporary and classical events, will find it in Lasdun." —Helen Vendler With this, his second collection of poetry, James Lasdun consolidates his reputation as a writer of rich, emotionally charged poems of utter virtuosity. The poems in this book concern themselves with transformations, dislocations, and metamorphoses. Vividly rendered landscapes from Tuscany to New Jersey evolve into meditations on love, myth, and sexual and social politics. Woman Police Officer in Elevator is a rigorous and compelling mix of the classical and the cosmopolitan.

In Sentences, contemporary poet Howard Nemerov adds to his distinguished work a collection of gnomic verses, declarative poems, sonnets after other poets, and sustained lyrics. "In [Sentences], not only has Nemerov continued to accommodate himself to the literary tradition without falling back on parody; he has also . . . extended the resources of blank verse beyond what any modern practitioner, himself included, has managed to. This extension comprises more than a mere prosodic advance; it is a rhetorical and imaginative advance. 'By Al Lebowitz's Pool,' 'The Makers,' 'Monet,' and 'A Christmas Storm,' for example, are dazzling in their very naturalness. . . . No one since Frost has done as much to move blank verse from where Wordsworth and Coleridge had left it."—Mary Kinzie, Poetry

Poetry. Masterfully edited by Todd Swindell, I AM GOING TO FLY THROUGH GLASS offers a brilliant introduction to the work of one of the twentieth- century's foremost poets, designated by William Carlos Williams as "the best poet of [his] generation."

My Tokyo , Frederick Seidel's fourth collection, brings together twenty-seven new poems by one of our most arresting writers. In Seidel's work, a passionate, uncompromising sensibility confronts the intractable reality of a turbulent world, a world of seductive glamour, harsh splendor, and cruelty. The strong rhetoric of the poems juxtaposes intense lyricism with a remorseless, cold-eyed skepticism. The results are consistently challenging, disturbing, and fiercely beautiful. Robert Lowell once wrote about this remarkable poet: "When I read him, I have envious, delighted, jolted feelings, and suspect the possibilities of modern poetry have been changed. Here is power that strikes".

Poems by Else Lasker-Schüler A bilingual edition selected and translated by Francis Booth Along with Nelly Sachs and Paul Celan, Else Lasker-Schüler was one of the most important German-Jewish poets of the twentieth century. And along with August Stramm and Georg Trakl, one of the most important early German Expressionist poets. Born into a middle-class banking family in 1869, Lasker-Schüler began writing poetry very early, imagining herself as a child living in the Orient. Later she lived a bohemian life in Berlin, where she moved to train as an artist in 1894. Else later married the artist Georg Lewin, who founded the seminal Expressionist magazine Der Sturm , which published much of her early work. Lasker-Schüler embraced political activism in favour of animal rights, artists' rights and Jewish causes. Although not explicitly a feminist, she advocated and used "gender-just" grammar. Else lived in Berlin until 1933, when she fled Nazi persecution, finally settling in Jerusalem where she lived a life of poverty and eccentricity until she died in 1945. The German text in this edition is presented as a near-facsimile of the 1917 edition of her Collected Poems , from which these verses are selected.

Chana Bloch's collection of new and selected poetry is a retrospective view on Jewish texts and traditions, illness, death, gender, memory, and family life.

I was washing an eggplant at the end of the world on February 4 2020 when I heard from Vincent. It was Mozart's 39;s birthday, a momentous event that the melophiliac Vincent Katz would never have let pass without a celebratory panegyric. There it was in the email, beginning Its Mozart's39th birthday. He's only 264.years old; Mozart died young but kept on living. Vincent and I were older already than Mozart was when he died, but if we had any chance at living as long as he did we had better get to work. We are poets but our immortality is far from ensured. Our contributions to the archive of the aptly named School for Disembodied Poetics at Naropa University in Boulder Colorado are so our only bid for a mozartian afterlife. Not enough. Beginning with Mozart we began our search for the aqua vita of the long poem that would be sung by the melomanes of the future. CoVid was our last chance to make embodied poetry that would keep living in the future, as long as we washed our vegetables, masked our faces, disinfected the doorknobs, stayed six feet away from all human beings -- and wrote to each other via the as-yet uncontaminated internet. And if we kept celebrating our immortal predecessors while noting the daily routines to preserve our bodies, we might make it into that future via our (regularly disinfected) keyboards. Our common bonds at that curious time of the planet- engulfing Plague were various: we were friends, we were poets, we took poetry seriously enough to believe in its superpowers, but above all, we both had mothers who at ages past Ninety needed the care and attention that we two could provide them. Our exchanges quickly became an ongoing epic of care. It became also a store of reminiscences, activities and ideas that paid homage to the women we cared for, communiques and confessions that we would have liked them to appreciate. Happily, at least for me, my mother was past appreciating our fabulous antics though she smiled, sometimes appropriately, when I hit Send. She passed away on September 20, 2022, and is now in my room, listening without recourse. Happily, Vincent's mother is, as of this date, still listening in her body to this epic of care. Andrei Codrescu

"An autobiographical journey through America in the turbulent 1960s-the essential backstory to Ginsberg's National Book Award-winning volume of poetry"--

Microscopes swivel and flowers spread as the poet wrestles with a spectrum of growing pains. These coming-of-age poems draw inspiration equally from science textbooks and fairy tales. As the final poem prays, "I will see the moon and morning and know". Branches explores what it means to live to the next day, and the next, before we fully understand what we are surviving.

R.B. Lemberg's poems are a manifesto of memories, unearthing worlds that are gone and poignantly present: their childhood in the Soviet Union, suspended between Ukraine and the permafrost of Siberia, among the traumatized, silent, persecuted members of their Jewish family; Lemberg's coming of age in Israel, being the other wherever they go, both internally and externally, in multiple identities, languages, genders; and the arrival in "the lost land" of their America, where they have put down "tentative roots." Every line in this stunning, lyrical memoir is chiseled with the poignant precision of ice into a coruscating cascade that engulfs us with the author's sensations of solitude, anger, grief; sometimes hurling like an avalanche, sometimes tenderly unfolding like constellations in a circumpolar sky - leaving open the possibility that with the disturbing truths covered for decades, the thawing permafrost from Lemberg's past might also lay bare layers of love.

In this probing collection of poems, Lillian Boraks-Nemetz draws on her own experiences to explore the spiritual and psychological losses suffered by child survivors of the Holocaust. The title points both to the one and a half million children murdered in the Holocaust and to the many child survivors who have lived out their lives as "ghosts" and who continue to search for ways to heal and redeem what was lost.