Poetry

An exhalation of love, loss, and heartbreak, Abandoned Breaths is a poetic work of catharsis. From the acclaimed author of I Find You in the Darkness, Alfa's writing is at once deeply personal and universal--resulting in an emotive force that stays with you. This new edition of Abandoned Breaths includes an updated introduction and a brand-new chapter of modern poetry. Find respite, resilience, and rejuvenation from the moving poetry of Abandoned Breaths.

There are words
that need to be said.
Buried beneath pride and fear.
Rejection has suffocated
their tenacity to bloom.
So, they stay dormant
and fester.
Dwelling in the darkest
and dusty corners of a crying soul.
Unseen, yet felt.
Not alive, but not dead.
Abandoned breaths.
Words that need to be said.
-Alfa

Moods for strong women who are weary from heartache.

A remarkable poetry collection with "inextinguishable generosity and abundant wisdom" (Monica Youn) from Clint Smith, the #1 New York Times bestselling and National Book Critics Circle award-winning author of How the Word Is Passed.

Clint Smith's vibrant and compelling new collection traverses the vast emotional terrain of fatherhood, and explores how becoming a parent has recalibrated his sense of the world. There are poems that interrogate the ways our lives are shaped by both personal lineages and historical institutions. There are poems that revel in the wonder of discovering the world anew through the eyes of your children, as they discover it for the first time. There are poems that meditate on what it means to raise a family in a world filled with constant social and political tumult. Above Ground wrestles with how we hold wonder and despair in the same hands, how we carry intimate moments of joy and a collective sense of mourning in the same body. Smith's lyrical, narrative poems bring the reader on a journey not only through the early years of his children's lives, but through the changing world in which they are growing up--through the changing world of which we are all a part.

Above Ground is a breathtaking collection that follows Smith's first award-winning book of poetry, Counting Descent.

New from the author of Nervous Systems, winner of the National Poetry Series.

William Stobb has won acclaim for wide-ranging poetry that features tender realism, jazzy dissonance, luminous descriptions, and, in the words of Donald Revell, a "strange and elegantly accomplished serenity of tensions attenuated to their uttermost." The poems in his second collection, Absentia, see the big picture-the sweep of history, the ongoing evolution of consciousness, evidence of geological time in the landscape. Humbled by scales beyond comprehension, Stobb is nonetheless seduced and stricken by the present in its many manifestations. Whether dealing with family, friends, or nature, the poems in Absentia, with their rich emotional palette and vivid, precise language, respond and transform, calling us to attend to the wide skies above and inside us.

One of The New York Times' 10 Favorite Poetry Books of 2014

An astonishing new collection from one of our finest emerging poets

A shark's tooth, the shape-shifting cloud drifting from a smokestack, the smoke detectors that hang, ominous but disregarded, overhead--very little escapes the watchful eye of Joshua Mehigan. The poems in Accepting the Disaster range from lyric miniatures like "The Crossroads," a six-line sketch of an accident scene, to "The Orange Bottle," an expansive narrative page-turner whose main character suffers a psychotic episode after quitting medication. Mehigan blends the naturalistic milieu of such great chroniclers of American life as Stephen Crane and Studs Terkel with the cinematic menace and wonder of Fritz Lang. Balanced by the music of his verse, this unusual combination brings an eerie resonance to the real lives and institutions it evokes.
These poems capture with equal tact the sinister quiet of a deserted Main Street, the tragic grandiosity of Michael Jackson, the loneliness of a self-loathing professor, the din of a cement factory, and the saving grandeur of the natural world. This much-anticipated second collection is the work of a nearly unrivaled craftsman, whose first book was called by Poetry "a work of some poise and finish, by turns delicate and robust."

The death of a mother alters forever a family's story of itself. Indeed, it taxes the ability of a family to tell that story at all. The Accounts narrates the struggle to speak with any clear understanding in the wake of that loss. The title poem attempts three explanations of the departure of a life from the earth--a physical account, a psychological account, and a spiritual account. It is embedded in a long narrative sequence that tries to state plainly the facts of the last days of the mother's life, in a room that formerly housed a television, next to a California backyard. The visual focus of that sequence, a robin's nest, poised above the family home, sings in a kind of lament, giving its own version of ways we can see the transformation of the dying into the dead. In other poems, called "Arguments," two voices exchange uncertain truths about subjects as high as heaven and as low as crime. Grief is a problem that cannot be solved by thinking, but that doesn't stop the mind, which relentlessly carries on, trying in vain to settle its accounts. The death of a well-loved person creates a debt that can never be repaid. It reminds the living of our own psychological debts to each other, and to the dead. In this sense, the death of this particular mother and the transformation of this particular family are evocative of a greater struggle against any changing reality, and the loss of all beautiful and passing forms of order.

"A splendid addition to an already extraordinary oeuvre."--Teju Cole, The New Yorker

German-born W. G. Sebald is best known as the innovative author of Austerlitz, the prose classic of World War II culpability and conscience that put its author in the company of Nabokov, Calvino, and Borges. Now comes the first major collection of this literary master's poems. Skillfully translated by Iain Galbraith, they range from pieces Sebald wrote as a student in the sixties to those completed right before his untimely death in 2001. In nearly one hundred poems--the majority published in English for the first time--Sebald explores his trademark themes, from nature and history, to wandering and wondering, to oblivion and memory. Soaring and searing, the poetry of W. G. Sebald is an indelible addition to his superb body of work, and this collection is bound to become a classic in its own right.

"How fortunate we are to have this writer's startling imagination freshly on display once again, expressed in language honed to a perfect simplicity."--Billy Collins

"A watershed volume . . . nothing less than transcendent."--BookPage

"[Sebald was] a defining writer of his era."--The New Republic

"If you've ever opened the hood of a car and found a motor of flowers or opened a closet and out flew a flock of waxwings, monarchs and philosophers, you'll be prepared for these poems. Otherwise, reader, get ready for the brilliant onslaught of these prayerful evocations, these rollercoaster sonnets, these radiant affirmations of life and art." (Dean Young, author of Bender: New and Selected Poems)

"Anthony Opal's series of unrhymed (or off-rhymed) sonnets begins with a prayer to everything or anything - from a lower case 'god' to a 'compassionate sloth' and a 'homeless zoo keeper.' In these poems reverence and rebellion, desperation and control joust. Then they dance. Opal's lines are consistently surprising (if that's possible) and, more important, they make me believe them." (Rae Armantrout, author of Just Saying and recipient of the Pulitzer Prize)

"Anthony Opal's keen and restless observations, flickering with medical and theological emergencies, Old Testament visitations, Jackson Pollock, hippos and bird wings, can't help but remind me of the nature of opal itself, with its glittering internal structure that refracts light mediated by its elemental inclusions and substrates. In wrestling with his sonnet-angel, Opal wins." (Allan Peterson, author of Fragile Acts and All the Lavish in Common)

ACTION - as in begin, genesis, motion - is a collection of poems ultimately concerned with form, those lines drawn in the sand that give way to the profanity of the holy, the holiness of the profane. Throughout ACTION, Opal engages the constraints inherent to seemingly fixed forms. From living with rheumatoid arthritis, to feeling for the edges of a sonnet tradition, to wrestling with the tenets of historical theology, this collection demonstrates that the only way to honestly submit to a form is to rage against it. However, to assume that this rage is not a kind of explosive joy-a Barthesian jouissance-would be to miss the point of poems that Dean Young has described as "radiant affirmations of life and art."

"'I write sonnets empty of everything yet containing all things ...' goes a visual and philosophical echo of the unutterable 'G-d' ACTION interrogates, prods. Such slippery refrains drive this lively book's composition and arguments. Birds fall throughout, echoing the rough descent of haloed, winged things; the speaker wrestles an angel by a river and, in a later poem, a father by a sink; prophets stumble about stripped of epic context, conscripted to a world of Doritos bags, iPhones, and prescription meds. Indeed, religion and the sacred's place in the contemporary are on Opal's mind. For as much as, say, 'Out of the Whirlwind' might aver otherwise, these adroit and contemplative poems don't only fuck with 'ideas of the holy, ' they seek them out." (Douglas Kearney, author of Patter and The Black Automaton)

"Opal's eye mocks its own seeing. With a 'strange mercy that pulls us inward, ' these poems glint from the threads tethering private myth to a larger one. Taut with hope and balancing a heavy humor, this is language carved of a voice that wants to shout lullabies: 'I want to sing / a song to myself in the silence of / myself.'" (Emily Kendal Frey, author of Sorrow Arrow and The Grief Performance)