An eight-poem sequence, each a garden, leading into and through another, dynamic, like breath, set within drawings of unpredictable landscapes.

In her long-anticipated fourth collection, The Engineers , Katy Lederer draws on the newfangled languages of reproductive technology, genetic engineering, and global warming to ask the age-old questions: What is "the self"? What is "the other"? And how to reproduce "one's self"? In poems that are both lyrical and playfully autobiographical, Lederer imagines form as a kind of genetics, synthesizing lines out of a rigorous constraint. Things can go wrong. The body--or poem--malfunctions, evacuating crucial parts of itself (miscarriage), or growing too aggressively or quickly (cancer). The body--or poem--attacks or even eats itself (autoimmune dysfunction; autophagy). Written almost entirely in the choral "we," the poems move among the perspectives of the bewildered parent, the unborn child, and the inscrutable God who looks down upon the human world. In a post-Roe landscape, the poems complicate and ultimately refashion our pre-conceived notions of the self--and of life. Radical, uncanny, and stunningly original, The Engineers takes us on a journey to a place we've never been, but that is hauntingly familiar.

Selected poems from throughout the writing career of Judith Kerman, with facing-page Spanish translations by Dominican poet Johnny Durán. These poems are lyrical, analytical, sometimes funny, with an intense attention to the details of nature and daily life.

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An anthology of poems, most of them by English poets of earlier centuries, which reflect the symbolic overtones and moods of the seasons.

Guardian of the gates of hell, brightest star in the night sky, the dog is the saucy, swaggering, world-weary trickster whose indomitable spirit has been mythologized for millennia. In Dog, poets Catherine Owen and Joe Rosenblatt have written a volume of solo and conjoined sonnets about dogs of the cosmos, the underworld and the psyche. Orbiting around the striking canine images of photographer Karen Moe's Perros: Dogs of Central Havana, Owen and Rosenblatt wisely and wittily follow the scent of mankind's oldest friend, sniffing out the traces of the dog in all of us.

Jewish Fate is an evocative autobiographical poem by Jim Dine accompanied by 18 lithographs of one of his favorite motifs, tools. The poem shows Dine reminiscing about his childhood days spent at his grandfather's hardware store in Cincinnati, where he worked every Saturday and summer for ten years from the age of nine. Dine's vivid co-workers shape his memories. There is the head shipping clerk Joe Kibbing: tall, thin, "very dramatic and high strung and didn't take orders easily." Joe's older brother Bud was the dignified head salesman: "a soft-spoken, intelligent man who had he had an education past high school might have been a lawyer or a surgeon." And finally there was Willie Tapp, "short and lithe ... he dressed elegantly like a lot of black guys did then for a guy loading trucks and handling greasy tools and heavy boxes... This handsome, lovely man showed up for work drunk most Saturdays, but managed to perform most times." Among these characters in the inspirational, overflowing store Dine developed his love for tools which accompanies his art today and is seen in the hammers, rollers, brushes and wrenches in this book-all realized in Dine's inimitable unfinished style, in his words: "Always correcting and reinventing the drawing."

In 2015, Beirut's district president takes the dangerous road to Damascus once a month to bring the sacrament to Syrian Saints. In 1904, a ward rallies around a mentally ill member in Salt Lake City after he's institutionalized. In 1844, a sister gathers new members on the South Pacific atoll of Anaa and teaches them the gospel by singing hymns from dusk until midnight. The twenty-two poems in Song of Names draw images from the lives of ordinary Latter-day Saints from many times and places to make a mosaic of discipleship. Accompanied by historical introductions, reflective essays, and original fine art sketches, this collaboration between James Goldberg, Ardis E. Parshall, and Carla Jimison is a monument to two centuries of struggle and faith.

In this follow-up to his 2015 collection, Let Me Drown With Moses, James Goldberg explores themes of suffering, community, faith, and discipleship with both an unflinching commitment to God and a clear-eyed perspective on the difficulties of mortality. Whether telling stories from Goldberg's LDS ward, chronicling his experience in chemotherapy, imagining alternate histories, or commenting on the scriptures and society, the poems in Phoenix Song describe what it means both to feel burned to the ground and to rise from the ashes.

The forty-nine poems in Let Me Drown With Moses are not for those who think of religion as another name for self-help. They are for those who still believe in a God who wrestles. For those who think faith should challenge as much as it comforts. For those who would follow a prophet chest-deep into the Red Sea, even before the waters part.Drawing on imagery from scripture and Mormon history, Let Me Drown With Moses gives voice to the spiritual longing of a people and does its own small part to keep religion a living language in the 21st century.

`Don't let the title fool you; this is not a book of romanticDance with Desire chosen from across the span of his long career, Layton styles himself as a 20th-century Catullus, loving and hating with equal glee, given to passionate excesses and epigrammatic precision, utterly unconcerned with sweet nothings or political correctness. Layton is often charged with being too verbose, with having published far too many substandard poems, and having let his verse grow slack as he grew older. These are all valid criticisms, but they don't really apply to Dance with Desire since its very existence depends upon the excesses, embarrassments, and foolishness of the unstifled love that Layton celebrates.'

Professor Levy explores the ritual origins of Japanese verse, the impact of Chinese and Korean literary influence on the seventh-century Court, and the rhetorical deification of the imperial family as the condition under which Hitomaro would begin his career as a Court poet. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Book by Tham, Hilary

Harold Pinter's response to world events is always pure and simple: he writes with an economy that throws the stark light of truth onto any given subject. There is no fudge, no dallying, no compromise. The eight poems and one speech published here testify to the strength and lucidity of his unwavering view on war and provide a declaration for humanity.

"send SPOKE around again" (H Weiner)

Recounts the author's discovery, consultations, and diagnosis, all while navigating the death of her 103-year-old mother, a performance at the Kennedy Center, and the consolidation of her life via a full-time move to upstate New York.

A collection of poems.