Poetry. LGBT Studies. From his first appearance on the page, "we knew he was bound for something unsolvable." But a little thing like futility can't stop our hero from holding up a magnifying glass to a world "so bright it's impossible to understand." In this searching, provocative collection of coming-of-age sonnets, the sad boy detective listens close, collects the evidence, and reimagines the strange landscapes of a life, a body, a boy, a self. Through a questioning, fervent lens, sam sax's SAD BOY / DETECTIVE reminds us how deeply bizarre and at times undecipherable all this existence stuff truly is. "Sam Sax's SAD BOY / DETECTIVE uses the unholy sonnet in ways that would make Jarman marvel and sigh. The entirety of this volume destabilizes our ideas of what it means to write the coming of age novel, what it means to be undetectable. And Sax is forever fighting the fight of a poet who is made aware of his separation from the world by the fact that he is-in sorrow, sex, danger, or celebration--moored to all he sees because his seeing is a searchlight."--Jericho Brown "The SAD BOY / DETECTIVE of this book is on the case of his biggest mystery yet: the strangeness of existence itself. Reading these cleverly serialized sonnets is like pressing your ear to a door full of wonders you're unsure you're prepared to inherit. The book enacts a powerful awakening. Sam Sax is a terrific emerging poet. Like a sleuth with a magnifying glass, you're going to want to follow him everywhere."--Dobby Gibson

With his characteristically brilliant wordplay and extraordinary scope, Tom Stoppard has in Hapgood devised a play that "spins an end-of-the-Cold-War tale of intrigue and betrayal, interspersed with explanations of the quixotic behavior of the electron and the puzzling properties of light" ( New York Times ). It falls to Hapgood, an extraordinary British intelligence officer, to try to unravel the mystery of who is passing along top-secret scientific discoveries to the Soviets, but as she does so, the web of personal and professional betrayals―doubles and triples and possibly quadruples―continues to multiply.

My Mother's Body, Marge Piercy's tenth book of poetry, takes its title from one of her strongest and most moving poems, the climax of a powerful sequence of Poems to her mother. Rooted in an honest, harrowing, but ally ecstatic confrontation of the mother / daughter relationship in all its complexity and intimacy, it is at the same time an affirmation of continuity and identification. "The Chuppah" comprises poems actually used in her wedding ceremony with Ira Wood. This section sings with powerfully female love poetry. There is also a sustained and direct use of her Jewish identity and faith in these poems, as there is in a number of other poems throughout the volume. Readers of Piercy's previous collections will not be surprised to encounter her mixture of the personal and the political, her love of animals and the Cape landscape. There are poems about doing housework, about accidents, about dreaming, about bag ladies, about luggage, about children's fears of nuclear holocaust; about tomcats, insects in the rafters, the influence of a name, appleblossoms and blackberries, pollution, and some of the ways women objectify one another. In "Does the light fail us, or do we fail the light?" Piercy writes with lacerating honesty about our relationships with the elderly and about hers with her father. Some of the most moving poems are domestic, as in the final sequence, "Six underrated pleasures," which finds in daily women's tasks both pleasure and mystery, affirmation of serf and connection with the mother. In all, My Mother's Body is one of Piercy's most powerful and balanced collections.

Poetry arises from the search for sacred language that describes the awe and mystery of the real world. Deena Metzger is a contemporary poet who has aligned herself with this ancient tradition. This collection, that includes selections from her earlier books of poetry Dark Milk, The Axis Mundi Poems, Looking For the Faces of God , A Sabbath Among the Ruins and Skin: Shadows/Silence draws on her life s work, more than forty years of devotion to the word, and aligns itself with such a quest for meaning that has increasing urgency because of the spiritual and political ruins of our time. It is no longer sufficient, she believes, for the poet to be an unacknowledged legislator of the world, for the committed poet is called to engage with full heart in the continuous activity of restoration on behalf of beauty, wisdom and the natural world. Here we meet the articulate voices of the otherwise silenced, the voices of the animals, the land and the elementals, rain, wind fire and earth, and our responsibility to them. This book combines a searing look at the horrors that we permit, the anguish of human cruelty, brutality, and indulgence, but carrying the fierce determination to live, act, and write on behalf of the soul in all its manifestations. In this collection, despair is acknowledged but not indulged, as Metzger engages in the meticulous task of reconstructing a world, informed by the past and history as language demands, but, extracting ourselves from its violence and caprices, looking toward a viable future and all its unexpected possibilities. Poetry arises from the search for sacred language thatdescribes the awe and mystery of the realworld.Deena Metzger is a contemporarypoet who has aligned herself with this ancient tradition. This collection, thatincludes selections from her earlier books of poetry, and draws on her life swork, more than forty years of devotion to the word, and aligns itself withsuch a quest for meaning that has increasing urgency because of the spiritualand political ruins of our time.It isno longer sufficient, she believes, for the poet to be an unacknowledgedlegislator of the world, for the committed poet is called to engage with fullheart in the continuous activity of restoration on behalf of beauty, wisdom andthe natural world.Here we meet thearticulate voices of the otherwise silenced, the voices of the animals, theland and the elementals, rain, wind fire and earth, and our responsibility to them.This book combines a searing look at thehorrors that we permit, the anguish of human cruelty, brutality, andindulgence, but carrying the fierce determination to live, act, and write onbehalf of the soul in all its manifestations. In this collection, despair isacknowledged but not indulged, as Metzger engages in the meticulous task ofreconstructing a world, informed by the past and history as language demands, but, extracting ourselves from its violence and caprices, looking toward aviable future and all its unexpected possibilities. "

Product Description This art booklet combines paintings and poetry to create "a visual chartology of the evolutionary path." It includes ten full color reproductions of Carolyn s art and nine poems. About the Author Born in England, philosopher, poet, author, and visual artist Carolyn Mary Kleefeld grew up in Southern California before studying art and psychology at UCLA. Her innovative artwork and writing has been explored for more than twenty-five years in the fields of human consciousness and creativity. A visionary pioneer, she possesses the rare ability to convey through lyrical language, metaphor, and symbolic image the spiritual potential of human beings. Fueled by a need for creative expression and a lifelong fascination with psychological and spiritual transformation, Ms. Kleefeld has authored three award-winning poetry books that explore these archetypal themes. These books have been studied in university courses internationally and translated into Braille by the Library of Congress. Her book, The Alchemy of Possibility: Reinventing Your Personal Mythology (Merrill-West) inspired by the I Ching, with an introduction by Laura Archera Huxley combines visual art, philosophical prose, and poetry, and includes quotes from the I Ching and Tarot. Healers and professors of art and psychology alike have utilized Alchemy as an inspirational text and oracular guidebook. An interview with Kleefeld can be found in the anthology Mavericks of the Mind: Conversations for the New Millennium (Crossing Press), alongside conversations with Alan Ginsberg, Terence McKenna, Dr. Timothy Leary and other contemporary cutting-edge thinkers. Other works of note include Kissing Darkness: Love Poems and Art, a poetic lovers dialogue written in collaboration with David Wayne Dunn (published in 2003 by Riverwood Books, an imprint of White Cloud Press) and Soul Seeds; Revelations from the Mystery, an inspirational collection of Kleefeld s philosophical maxims (Cross Cultural Communications, 2008). Over the past three decades, she has created an extensive and diverse body of drawings and paintings, ranging in style from romantic-figurative to abstract. In her unique language of poetic imagery, Ms. Kleefeld expresses the passions of the human heart and a pantheistic reverence for the Big Sur wilderness she inhabits. In addition to past features in art magazines and textbooks, her esteemed work can be found in the personal collections of Ted Turner and Laura Archera Huxley, the United Nations, and in hospitals, galleries, and museums around the world.

Redemptive Memory reveals the pattern of a life lived passionately and examined deeply. Its themes are love, that draws the poet to the world; anger, that rages against disappointment; and song, that joins feeling and thought in the redemptive promise of form. These poems arise from experience and evoke unnamed others through many modes of address: interrogative, imperative, suppliant. Yet in their use of allegory and parable, and their generalizing thrust, they reach beyond the individual life, discovering laws of conscience and commitment that might guide another life. The body's joys and losses, the ego's rage against betrayal and death, language's "acrobatic" enchantments, the sand and water of the mutable world we act in-all fi nd their enduring music here. The poems have the majesty of Yeats, the intellectual ambition of Eliot, the humanity of Stevens, pressing back against the pressure of reality. The phrasing in these poems displays an intelligence that reveres mystery: "all my solaces turn ashes in your seeking"; "the snowman kneels into sleep"; "the heel of space stamping/the changes of what I feel." The compelling rhymes shape an ethical awareness: "sober judges on the stormy roof/ you tell every man to come home from his youth." And the rhythms are designed to body forth their arguments: Carve your substance in the furnace of form; the wall of the word grows stronger than harm In these masterful poems, some braced against harm, others whispering in the silence or just swinging in glee, the imagination is satisfi ed and memory is indeed made redemptive. Bonnie Costello, Boston University

Inspired by traveling through northern India, The Kimnama is a blend of history, narrative, stunning imagery, and personal encounters. It's like the Indian combination of spices called a masala, of which there are myriad variations, weaving a complex and deeply satisfying whole. A multisectioned narrative of the speaker's travels through India...[with] lots of lyric repetition, beautiful images. Though the work has a balanced, meditative feel, there are glimmers of unexpected humor. -Sandra Beasley Unique and informative...Roberts provides the reader with clues of India's rich multifaceted culture...as well as its mystery and draw. From its temples to its smell of flowers, food and fires rising up in pujas... -Robert Giron, Gival Press

Excerpt from The Queen of Sheba: Opera in Four Acts, From a d104 by Mosenthal Kano awaits thecoming of the Queen of Sheba. He has dispatched his favorite courtier, Assad, to escort the royal guest to Jerusalem. Assad, the betrothed of Sulamith, the High Priest's daughter, was to celebrate his nuptials during the Queen' s sojourn in the Jewish capital; but at the foot of the Lebanon he has surprised the beautiful queen in a bath, and, inflamed by her charms, has become deeply enam ored with her, as she with him. On his return to Jerusalem he 18 met by his betrothed and her father, but conscious of his guilty passion he shrinks from their welcomes. Solomon who half divines the truth, questions him closely, whereupon Assad confesses the truth so far as it is known to himself, for he is not yet aware of the fact that it was the Queen herself whom he had espied in the bath. Solomon exhorts himto remain faithful to Sulamith; Assad promises obedience, but finds his resolution shaken when, at the Queen's reception of the royal court, she raises her veil and gazes at him. Dining the night the Queen has a secret meeting with Assad in the royal gardens and urges him to abandon Sulamith and to return with her (the Queen) to Arabia. The day set for his nuptials with Sulamith arrives Solomon himself appears in the temple to witness the celebration Assad seems inclined to return to his faith, but on seeing the Queen enter the sacred edifice, his unhahowed passxon revives, and be publicly spurns his devoted bride. Solomon, suspecting the truth, conjures the Queen to solve this mystery, but she declares that she does not know Assad and has never seen him. The latter is condemned to death by the priests, but the execution of judgment is stayed by the Ling. The Queen pleads for him, but Solomon remains deaf to her prayers, where upon the Queen departs from Jerusalem. Sulamith declares her intention to retire from the world and to devote her remaining days to God. Assad, whose life has been spared, but who is condemned by the King to perpetual banishment, strays repent nully in the Syrian desert. Once more he meets the false Queen who exhausts her seductive eloquence, but m vain. Assad remains deaf to her pleadings and is resolved to atone his guilt by sincere repentance. He expires in the arms of Sulamith who, accompanied by her maidens, is traversing the desert on her way to her cloistral seclusion and has found her faithless lover fainting and dying. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is a collection of poems that reflects the author's experiences as a traveler and a lover of nature. The poems are characterized by a lyrical and introspective tone, and reveal a deep appreciation for the beauty and mystery of the natural world. Philip Max Raskin's work is sure to resonate with readers who share his sense of wonder and awe. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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