Post-modern American Poetry, 108 pp. "Mitch Corber, a stalwart member & chronicler of NYC's poetry community for decades, explores/reveals in this his first major volume of work 'veiled moons, ' 'creaky cabinets, ' 'weekend binges' & so much more -- with dark, humorous, romantic & experimental, at times cut-up/random-seeming verses infused with internal rhyme & wordplay connecting the commonplace with the metaphysical through meditative 'sporadic nibbling' & 'a mosaic of moods.'" -Steve Dalachinsky "Poet Mitch Corber's 'Weather's Feather' is "raw testimony" to love, desire, loss and rage that exists within "the sum of forgiveness." A steadfast and creative presence in New York's downtown poetry scene, Mitch Corber knows the mercurial intensities of its liaisons and its allures. Its passions are his: 'Gentle me a symmetry of delayed/desire lit by a clientele of electricity.' Workdays become occasions where 'fond flowers fish for a wish, ' and the whims of climate and ardor are enhanced by 'shy resurfacings.'" -Star Black "Mitch Corber is a Dylan Thomas for the Hip Hop generation. 'I lace words' is his throwdown, and he ain't kidding around. "Weather's Feather" is a unique contribution to post-Beat poetry as Corber is tapping into the experimental poetics of The Beats as found in Kerouac's 'Old Angel Midnight, ' Ray Bremser's bop prosody, Burroughs' cut-up experiments and Corso's 'Gasoline.' I'll toast this new volume with the author's favorite drink: 'a sinkful of gladdened magnets.'" -Joel Lewis "Mitch Corber dances on a poetic highwire gleaning meaning from the verbal swarm that envelops us. Brawn and beauty mix it up in balletic bouquets of "seething" syntax fusions. Sinuous verse pulses with mystery and affirmation, aspiration and defeat. Beguiling and edgy, Corber's voice is authentic, complex and heady, like a grandy brandy that's been aged in a hollowed-out dictionary. Between sparkling bon mots and startling juxtapositions, Mitch seeks and finds the fine line where the personal meets the communal. -Jeffrey Cyphers Wright "Corber was introduced to poetry through nursery rhymes. He took off from there and never looked back. His flights of fancy display love, loneliness, impermanence, the joys of imagination, and unexpected ascents and descents. No one ever knows where one of his poems will land. And no two trips are alike. This is a book for worldly travelers who never tighten their seatbelts." -George Spencer "Mitch Corber, grassroots documentarian of East Village poetry scene for decades, here shows that his vérité eye goes bongo gonzo when flipped into his interior abyss. He asks, 'Have you seen my pesky porcupine, /her spiny tingle, those naughty needles?' and while everybody else might just say Noooo, for Mitch it's an everyday experience. What's in those needles? Surrealist syringes, jazz bops and verbal nonstops...! Teddy B (Berrigan) puts in an appearance (on Avenue C) - he is La Bohème, with Corber strutting like Lord Buckley to get hiperama. His are the Beatles of 'The Eggman.' Take two poems and call him in the morning. Name a poem 'Pyrex Bowl.' Don't take an answer for an answer. Goo goo ga-joob. Mitch Corber is the Mad Taxidermist, and language is his prey.-Bob Holman "Mitch Corber comes to us from out of nowhere, yet very much from out of somewhere. He can write love 'in the proxy of praxis'- where lovemaking is akin to poesis. A sensitive ear to assonance and rhyme, and love of the unsettling word, fuels Corber's lyric metric. He does not so much explore as navigate. He seems to dwell in the metaphysic, rather than the street, though his sense of human, and particularly romantic, relation is vivid. His metaphysic is a valuable tool for living, existing as it must in what he terms 'the lethal diamond dream.'" -Vincent Katz

Collected poems, 1967-2012 From the Foreword by Jack Hirschman, former Poet Laureate of San Francisco: "I think I can say a few words about what makes American poetry tick..., and by way of that indicate the importance of this book and John Curl in the pantheon of revolutionary poets... it is 'transform, transform' that John Curl is forever sounding and resounding with his depth charges... We're talking about transforming a society totally in which process poetry serves as a beaconing forward. Curl's signature achievement linguistically, it seems to me, is to have developed a language where lines of images often are contrary to one another and that friction or opposition does more than 'surrealize' the lines (Curl knows the techniques of all the avant-garde poetry movements of the 20th century)-what he is writing is often a poetry of dialectical motion itself. The singular intent behind John's writing is to actualize in poetry the urgent need for working-class consciousness, ... and Curl succeeds in so many poems and in so many imaginings in this book that one realizes that Revolutionary Alchemy is a book of major importance. John Curl... has earned a place-with this book of poems-among the foremost revolutionary American poets since the end of WW2." From Sharon Doubiago, National Book Award nominee: "John Curl's Revolutionary Alchemy is a magnificent account of a radical poet's work, the lifetime of poems, the inner story of an important generation, its psyche, the history. What deep and meaningful pleasure to read this alchemy, mix of love with the bombs. 'I cried when I heard the war was over and/ when I remember/the war still rages on/ I cry again...To resolve my pain I/must resolve yours....'" From Art Goodtimes, Poet Laureate of the Western Slope: "The procreative force, the cosmic sensibility, the oracular insight Curl brings to the reader is constantly astonishing. These poems help define and give rise to a verse of the surreal poetarian vision of the left. Here unrealism attempts to seize and transform imperialist reality. Curl writes like the lead miner in a pit crew. As such, he is a major poet on the people's side. There is not a thing to be bought off in his poems, there is only the amazement of truth." From Mary Rudge, author of Water Planet: "A Master Poet who uses language in a remarkable, innovative way, he gives us information on contradictions in the evolving state of human consciousness. The tensile lines of these poems are a strong loom holding the strength of an interwoven theme of Social Justice making deliberate design through the poet's understanding of actions and attitudes. John Curl shows us the undersides of clouds and cultures but also shows immutable order in chaos. He can, in a single poem, give at least 15 ways of changing personal, social, political darkness, including purification by fire. Though some are seemingly surreal, strange and new, your intellect tells you each line is someone's reality at the core."

Gabriel Levin's fourth collection moves from the Mediterranean world that has engaged his imagination for the last thirty years, to the sombre title sequence written in the shadow of Israel's bombardment and incursion into Gaza in 2008. These striking poems and their prose commentary ( The Fathers are Watching ) navigate between the depredations of war and the mind's need to disengage itself from its surroundings. The final section of this articulate and compassionate book is a fifteen-sonnet cycle dispatched from the shores of an unnamed island, which could be everyman's abode, in search of what might lie yonder.

Robins Poet-Tree is a collection of Poems that come straight from the heart. I hope that as you read the poems you can draw in the same warm feeling that I felt as I wrote these selections. My writing is about real life issues and events that have happened in my life. I feel these are issues that many others can also relate to. I have many memories, feelings and important people in my life intertwined in my words. Some of the topics written about in Robin's Poet-Tree are God, children, Love, & family. As you Read these selection you can find How & Where they fit into your life.

In her eighth collection, Linda Pastan touches upon themes of family, childhood, time and loss, and the beauty of nature. "Let the eye enlarge with all it beholds," she says in the opening poem; she becomes a seer, as the San Francisco Review of Books has said, "returning to the role of the poet as it served the human race for centuries: to fuel our thinking, show us our world in new ways, and to get us to feel more intensely."

Aram Saroyan's "minimal" poems of the 1960s demonstrated a completely unprecedented handling of words--often single words--that combined astounding economy with palpable textural warmth. Untitled poems that read in their entirety "eyeye" and "lobstee" evinced a pleasure in words that everybody could recognize--except Senator Jesse Helms, who publicly objected to Saroyan's poem "lighght" when its author received an NEA award--but which nobody else (except perhaps Gertrude Stein) had quite nailed until Aram Saroyan came along. In every one of Saroyan's page acts, the sound of typewriter keys inscribing blank paper are as audible to the mind's ear as the words themselves. Coffee Coffee was published as a mimeograph edition by Vito Acconci and Bernadette Mayer's 0 To 9 imprint in 1967, and was one of Saroyan's earliest collections, containing such gems as "guarantee," "added" and "rinse." Acconci has since recorded his admiration for these works: "In the late sixties, when I called myself a poet, Aram was the poet I envied."

The Wayward is an exploration into virtual life and theory. It uses tools from codework to traditional genre; much of its work is the result of programming intended to create systems of circulating texts. Think of The Wayward as a poetics of the imaginary, stumbling over the grounds of the real – constantly questioning linguistic referents and ‘meaning in general.’ The work is a ground-breaking exploration of the roots and structures of online and offline life, in which language simultaneously explodes and implodes. Conversations among ‘emanents’ dominate inconceivable landscapes; sexualities are constructed and deconstructed. There’s not another work like it.

I paint with acrylic and oil paint on canvas, I use gold leaf and glazes in many works, I often write poetry to accompany my paintings. I paint many subjects from birds and patriotic art, to marriage equality. Most of the images and ideas I use are taken from real life, the birds that walk around my pond, the fabric of my mother's dress, the wallpaper in her bedroom. I use imagery that I have drawn from memories of growing up in Boston, Lady Liberty, Uncle Sam, weathervanes and antiques, geometrics from the nineteen seventies and eighties, rain running down a pane of glass. The poems I write may be reflective of my artwork or reflective of my life experience. I have exhibited my art in Boston and Vero Beach, Florida for; Art Ark, Dale Sorensen, Vero Beach Museum of Art, The Regina Stark Gallery and President Obama. In 2012 I was asked by the Democratic Party and Forward America to exhibit nine of my paintings for President Obama's election, that exhibit ran for several months here in Vero Beach, Florida, something I am very proud of. I have since created two paintings for President and Mrs. Obama I have spent my life like most people in America, working full time and taking care of my home and family. It wasn't until the year 2011 that I was able to make the commitment to paint and write full time. Three years later, the result of that commitment is "The Art of Thomas Rose." My hope is that "The Art of Thomas Rose" brings enjoyment to the reader and encourages free thought about life and love. We are all beautiful people, deserving of love, respect and understanding. I hope you enjoy my book. As always, peace and love. Tom

The best poetry is all about imagery. When you can "see" the poem, you can experience it fully. LIFETIMES OF DELIGHT In the beginning you fed me beautiful bits of roasted goat dipped into luminous gold bowls of cherry sauce. We lived a long and rapturously happy life in the mountains. As forest dwellers I braided my hair with wildflowers beneath the full moon, while watching you sprinkle your assortment of magical herbs into our dinner of deer, salad, and roots. Tonight I learned of saffron The city found us cold and poor but never hungry / while others starved you knew instinctively where to find food. We dined on baked squirrel & pigeon stuffed with wild lettuce and nuts topped with mint sauce. I was happiest on the coast / where daily we enjoyed a delightful mixture of wild onions, garlic, fish, eel, and crabs, wrapped in banana leaves and slow cooked inside salt bricks placed beneath our fire. This time around finds us in the countryside, and you in the kitchen preparing specialties from many countries / We eat desserts garnished with edible flowers sprinkled with sugar, served on fine lace in demitasse cups.

Reaching for Clear is David Solway's translation of poetry by Dominica's celebrated young poet Rhys Savarin. Savarin now joins the Greek Andreas Karavis and the Turkish Nesmine Rifat in the growing pantheon of figures given life by Solway. An internationalist of the imagination, Solway consolidates his reputation as one of Canada's most original poets with an exciting adaptation of Savarin's lush landscapes, both human and natural. Savarin's bewitching mix of visual acuity and vernacular, his celebratory sense of an island world hedged by magic (or what Savarin himself calls "the flora and fauna of a mythical condition"), has been vividly rendered by Solway into poems distinguished by their clarity, musicality, humour, and insight.

Poetry. "In an age of information's uprooting of everything, John Curl's SCORCHED BIRTH creates, through a fusion of data and metaphor, a magical poetry that resonates with classical American (Mayan) simultaneity. This is a book of wonders"-Jack Hirschman. "The tensile lines of these poems are a strong loom holding the strength of an interwoven theme of Social Justice making deliberate design through the poet's understanding of actions and attitudes. John Curl show us the undersides of clouds and cultures but also shows immutable order in chaos. He can, in a single poem, give at least 15 ways of changing personal, social, political darkness, including purification by fire. Though some are seemingly surreal, strange and new, your intellect tells you each line is someone's reality at the core"-Mary Rudge, author of Water Planet, from the Foreword.

In her third collection, Alison Stone presents us with 42 poems of struggle and redemption. Her style is crisp and unencumbered by literary pretence as she evokes the raw emotions that inspired her poems with a rare honesty and clarity.

In Book 3 of the Into My Life Unexpected series, "Finding Love", Mr. Kaufman tells again in prose and poetry, the emotional and romantic story of the first year of the love affair he had been so long searching for. As he reveals more of his life story and how he came to this place and time, we share in the joy and power of "Finding Love"

The poem works with patterns of phrase and space. Orders of words and deaths. Dispersed, with the precision and craft of stone inscriptions, the verses transform the page into sites to represent loss and knowledge.The poem cannot retrieve all disintegrations. But recovers some in the ebb and flow of imagination across a sundered tradition. Depositing what it has recollected fretted through the caesuras of history.The poem opening from the past opens the subject. It knows the body porous, but selective. A writing that reconceives with no endpoint.Continuities like veins of impurity in a turquoise bead. Continuities like cracks in the faience of a Pharaonic amulet. Continuities like indigo-dyed threads in an ikat shawl.Faults. Faults in grammar. Faults and forms in dialogue to adopt the otherwise.One reader read through her station on the Berlin U-Bahn. One reader asks if this is a journal of the soul. One reader could be the angel of memory.> o