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Poetry
Finalist for the 2023 PEN Open Book Award and the Kate Tufts Discovery Award
A New York Times Book Review Editors' Choice Pick
Named a Best Book of 2022 by The New Yorker
"Paul Tran's debut collection of poems is indelible, this remarkable voice transforming itself as you read, eventually transforming you." --Alexander Chee, author of How to Write an Autobiographical Novel "This powerful debut marshals narrative lyrics and stark beauty to address personal and political violence." --New York Times Book Review A profound meditation on physical, emotional, and psychological transformation in the aftermath of imperial violence and interpersonal abuse, from a poet both "tender and unflinching" (Khadijah Queen) Visceral and astonishing, Paul Tran's debut poetry collection All the Flowers Kneeling investigates intergenerational trauma, sexual violence, and U.S. imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran's poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love.
A New York Times Book Review Editors' Choice Pick
Named a Best Book of 2022 by The New Yorker
"Paul Tran's debut collection of poems is indelible, this remarkable voice transforming itself as you read, eventually transforming you." --Alexander Chee, author of How to Write an Autobiographical Novel "This powerful debut marshals narrative lyrics and stark beauty to address personal and political violence." --New York Times Book Review A profound meditation on physical, emotional, and psychological transformation in the aftermath of imperial violence and interpersonal abuse, from a poet both "tender and unflinching" (Khadijah Queen) Visceral and astonishing, Paul Tran's debut poetry collection All the Flowers Kneeling investigates intergenerational trauma, sexual violence, and U.S. imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran's poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love.
25th Annniversary Edition, with a new preface by the author Perfect for the general reader of poetry, students and teachers of literature, and aspiring poets, All the Fun's in How You Say a Thing is a lively and comprehensive study of versification by one of our best contemporary practitioners of traditional poetic forms. Emphasizing both the coherence and the diversity of English metrical practice from Chaucer's time to ours, Timothy Steele explains how poets harmonize the fixed units of meter with the variable flow of idiomatic speech, and examines the ways in which poets have used meter, rhyme, and stanza to communicate and enhance meaning. Steele illuminates as well many practical, theoretical, and historical issues in English prosody, without ever losing sight of the fundamental pleasures, beauties, and insights that fine poems offer us. Written lucidly, with a generous selection of helpful scansions and explanations of the metrical effects of the great poets of the English language, All the Fun's in How You Say a Thing is not only a valuable handbook on technique; it is also a wide-ranging study of English verse and a mine of entertaining information for anyone wishing more fully to write, enjoy, understand, or teach poetry.
On the heels of his much-lauded debut collection, Raymond Antrobus continues his essential investigation into language, miscommunication, place, and memory in All The Names Given, while simultaneously breaking new ground in both form and content.
The collection opens with poems about the author's surname--one that shouldn't have survived into modernity--and examines the rich and fraught history carried within it. As Antrobus outlines a childhood caught between intimacy and brutality, sound and silence, and conflicting racial and cultural identities, the poem becomes a space in which the poet reckons with his own ancestry, and bears witness to the indelible violence of the legacy wrought by colonialism. The poems travel through space--shifting fluidly between England, South Africa, Jamaica, and the American South--and brilliantly move from an examination of family history into the wandering lust of adolescence and finally, vividly, into a complex array of marriage poems--matured, wiser, and more accepting of love's fragility. Throughout, All The Names Given is punctuated with [Caption Poems] partially inspired by Deaf sound artist Christine Sun Kim, in which the art of writing captions attempts to fill in the silences and transitions between the poems as well as moments inside and outside of them.
Formally sophisticated, with a weighty perception and startling directness, All The Names Given is a timely, tender book full of humanity and remembrance from one of the most important young poets of our generation.
A career-spanning volume charting the Nobel laureate's work in the ode form
Pablo Neruda was a master of the ode, which he conceived as an homage to just about everything that surrounded him, from an artichoke to the clouds in the sky, from the moon to his own friendship with Federico García Lorca and his favorite places in Chile. He was in his late forties when he committed himself to writing an ode a week, and in the end he produced a total of 225, which are dispersed throughout his varied oeuvre. This bilingual volume, edited by Ilan Stavans, a distinguished translator and scholar of Latin American literature, gathers all Neruda's odes for the first time in any language. Rendered into English by an assortment of accomplished translators, including Philip Levine, Paul Muldoon, Mark Strand, and Margaret Sayers Peden, collectively they read like the personal diary of a man in search of meaning who sings to life itself, to our connections to one another, and to the place we have in nature and the cosmos. All the Odes is also a lasting statement on the role of poetry as a lightning rod during tumultuous times.
Stevie Smith is among the most popular British poets of the twentieth century. Her poem "Not Waving but Drowning" has been widely anthologized, and her life was celebrated in the classic movie Stevie. This new and updated edition includes hundreds of works from her thirty-five-year career. In addition to the poems and illustrations from all her published volumes, the Smith scholar Will May discovered never-before-published verses and provides fascinating details about their provenance. Satirical, mischievous, teasing, disarming, Stevie Smith's poems take readers from comedy to tragedy and back again, while her line drawings are by turns unsettling and beguiling.
All the Reasons Why
By: Taylor Miller
About the Author
Taylor Miller discovered her love for writing at a young age. Her poetry debut took off in 2020 with the book You're Not Done Yet. From there, Miller's passion for writing poetry has expanded as she has found that her poems help create vulnerable and empowering connections with her readers.
About the Book
All the Reasons Why continues to share Miller's journey through trauma, healing, and recovery. This collection captures the raw realities of life. Poetry can be interpreted in many ways, and her hope is that readers will be able to find a sense of safety as they navigate through their own journeys.
Here starts the journey
Every day for the past six years, Tyler Knott Gregson has written a simple haiku about love, and posted it online. These heartfelt poems have attracted a large and loyal following around the world. This highly anticipated follow-up to Chasers of the Light, presents Tyler's favorites, some previously unpublished, accompanied by his signature photographs, which capture the rich texture of daily life.
Here is the good stuff: poetry written by women that actually excites the thinking reader. This anthology, spanning work of the last 75 years, will broaden its readers' notions of what defines erotic poetry. For what is more intriguing, more satisfying than strong, self-assured writing?
This groundbreaking anthology includes some of our most powerful women writers--among them Sharon Olds, Elizabeth Alexander, Anne Sexton, Dorianne Laux, Denise Levertov, Adrienne Rich, Lucille Clifton, and Louise Glück. These poets fully demonstrate that, far from being prurient, the erotic can permeate even the most mundane aspects of life, from reading a book to buying clothes.
At the same time, the collection affirms the enormous meaningfulness of poetry--its ability to express the inexpressible and to illuminate the most private and intimate of human experiences. The poets included here represent different ethnicities, geographies, social classes, and sexual preferences. The only characteristic they share is that they are women writing about sex.
This collection is a love letter to language with poems that are drunk and filled with references to the hyperkinetic world of the twenty-first century. Yet Zeus and Hera tangle with Leda on the interstate; Ava Gardner becomes a Hindu princess; and Shiva, the Destroyer, reigns over all. English is the primary god here, with its huge vocabulary and omnivorous gluttony for new words, yet the mystery of the alphabet is behind everything, a funky puppet master who can make a new world out of nothing.
While the poems in Steve Straight''s new collection lead the reader "into the dark forest of memory / or onto the carnival ride of hypothesis, / or even right off the cliff of surprise," they maintain a sure course through the din and distraction of modern life. Bits of news from the natural sciences, chance encounters, and even convicted felon and crafting queen Martha Stewart all fall under Straight's observant eye. The result is a collection of conversational poems that lend a sense of wonder to the commonplace.
In poems of graceful lyricism and penetrating observation, award-winning poet Linda Pastan sheds new light on the complexities of ordinary life and the rising tide of mortality. Drawing from Pastan's five most recent volumes and including over thirty new poems, Almost an Elegy reflects on beauty, old age, and the probability of loss.
With signature precision and quiet power, selections from The Last Uncle (2002) and Queen of a Rainy Country (2006) explore childhood, love, landscape, and the many pleasures of the imagination. Poems from Insomnia (2015) and Traveling Light (2011) chime with similar themes of aging, memory, and language. The new poems offer a profound portrait of a poet contemplating her life and the endurance of art, amidst the fleeting beauty of nature and the everyday losses that accompany old age. In "The Collected Poems," Pastan writes, "For years I wrestled / with syllables, with silence." Now, after a long and celebrated career, the poet rests "in a hammock of words, waiting / for the sun to rise again / over the horizon of the page."
Whether in a lush evocation of an impressionist painting or a wry and wistful ode to a car key, Pastan finds lucid meaning in the passage of time.
WINNER OF THE 2016 NATIONAL JEWISH BOOK AWARD FOR POETRY Moss is oceanic: his poems rise, crest, crash, and rise again like waves. His voice echoes the boom of the Old Testament, the fluty trill of Greek mythology, and the gongs of Chinese rituals as he writes about love, nature, war, oppression, and the miracle of language. He addresses the God of the Jews, of the Christians, and of the Muslims with awe and familiarity, and chants to lesser gods of his own invention. In every surprising poem, every song to life, beautiful life, Moss, by turns giddy and sorrowful, expresses a sacred sensuality and an earthy holiness. Or putting it another way: here is a mind operating in open air, unimpeded by fashion or forced thematic focus, profoundly catholic in perspective, at once accessible and erudite, inevitably compelling. All of which is to recommend Moss's ability to participate in and control thoroughly these poems while resisting the impulse to center himself in them. This differentiates his beautiful work from much contemporary breast-beating. Moss is an artist who embraces the possibilities of exultation, appreciation, reconciliation, of extreme tenderness. As such he lays down a commitment to a common, worldly morality toward which all beings gravitate.
From the Instagram poet and author of the exquisite Please Don't Go Before I Get Better comes a gorgeous poetry and prose collection that explores the meaning of "home" and the profound discovery of finding it within oneself--perfect for fans of Rupi Kaur and Amanda Lovelace. In this stunning third collection from Madisen Kuhn, Madisen eloquently analyzes some of life's universal themes within the framework of a house. Whether it's the garden, the bedroom, or the front porch, Madisen takes you into her own "home," sharing some of the most intimate parts of her life so that you might also, someday, feel free to share some of yours. Filled with beautiful hand-drawn illustrations from Melody Hansen, this boldly intimate, preternaturally wise, and emotionally candid collection encourages you to consider what home means to you--whether it's in the lush, green-lawned suburbs or a city apartment--and, more importantly, explores how you can find it even when home feels like it's on the far-off horizon.
From Pulitzer Prize-winner Mark Strand comes an exquisitely witty and poignant series of prose poems. Sometimes appearing as pure prose, sometimes as impure poetry, but always with Strand's clarity and simplicity of style, they are like riddles, their answers vanishing just as they appear within reach. Fable, domestic satire, meditation, joke, and fantasy all come together in what is arguably the liveliest, most entertaining book that Strand has yet written.
In his debut collection, chosen by Mary Karr as a winner of the 2005 National Poetry Series, Tryfon Tolides weaves together poems that speak of desire, loss, and small joys. Tolides was born in a tiny village in Greece and his work is rooted in the mountains and wind and the deep interior of that place; his poems express a longing and a searching for peace, for home, for beauty, for escape. These poems constitute a lament, whether they concern themselves with the difficulties of assimilation or the question of whether it is possible for people to live with one another in a spirit of true understanding. They prove that the physical and the metaphysical can share residence, can even be one and the same.
From New York to Nashville, Boston to L.A., a bohemian rhapsody of rap swagger is spreading across the land. As the "New York Observer" writes: "The poetry corpse is stirring, " its healing heart is "a big, dark, brick-walled loft on Third Street and Avenue C called the Nuyorican Poets Cafe. It's democratic, multicultural...sometimes funny, sometimes ribald. It has the vitality of vulgarity."
In her highly ambitious second collection of poems, Katrina Vandenberg takes her inspiration from the alphabet.
A meditation on the hump of a camel, and what it hides. A reminder that tomatoes belong to the nightshade family, and a vision of the plant as Adam's downfall. The Book of Kells, gold-leafed and extravagantly decorated by monks. Titled for letters of the Phoenician alphabet, and employing such innovative forms as the ancient ghazal, these poems are richly grounded in objects both humble and exotic. Vandenberg explores the intersection of power and forgiveness, and deciphers the seemingly indecipherable in emotionally poignant ways. "What will protect us?" one poem asks. "The words will be our weapons. In the end."
Moving between the physical and the abstract, the individual and the collective, The Alphabet Not Unlike the World unearths meaning--with astonishing beauty--from the pain of loss and separation.
Always/Siempre is a work of poetic and photographic ekphrasis, presented in English with Spanish translations.
Helen Vitoria has been nominated for Best New Poets and the Pushcart Prize. She is the Founding Editor of THRUSH Press.
B.L. Pawelek has been nominated for the Pushcart and Best of the Net prizes.