Ella Rubenstein is forty years old and unhappily married when she takes a job as a reader for a literary agent. Her first assignment is to read and report on Sweet Blasphemy, a novel written by a man named Aziz Zahara. Ella is mesmerized by his tale of Shams's search for Rumi and the dervish's role in transforming the successful but unhappy cleric into a committed mystic, passionate poet, and advocate of love. She is also taken with Shams's lessons, or rules, that offer insight into an ancient philosophy based on the unity of all people and religions, and the presence of love in each and every one of us. As she reads on, she realizes that Rumi's story mir­rors her own and that Zahara—like Shams—has come to set her free. In this lyrical, exuberant follow-up to her 2007 novel, The Bastard of Istanbul, acclaimed Turkish author Elif Shafak unfolds two tantalizing parallel narratives—one contemporary and the other set in the thirteenth century, when Rumi encountered his spiritual mentor, the whirling dervish known as Shams of Tabriz—that together incarnate the poet's timeless message of love.

Part elegy, part true crime story, this memoir-in-verse from the author of the award-winning The Argonauts expands the notion of how we tell stories and what form those stories take through the story of a murdered woman and the mystery surrounding her last hours. Jane tells the spectral story of the life and death of Maggie Nelson’s aunt Jane, who was murdered in 1969 while a first-year law student at the University of Michigan. Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area between 1967 and 1969. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche. Exploring the nature of this haunting incident via a collage of poetry, prose, dream-accounts, and documentary sources, including local and national newspapers, related “true crime” books such as The Michigan Murders and Killer Among Us , and fragments from Jane’s own diaries written when she was 13 and 21, its eight sections cover Jane’s childhood and early adulthood, her murder and its investigation, the direct and diffuse effect of her death on Nelson’s girlhood and sisterhood, and a trip to Michigan Nelson took with her mother (Jane’s sister) to retrace the path of Jane’s final hours. Each piece in Jane has its own form, and the movement from each piece to the next―along with the white space that surrounds each fragment―serve as important fissures, disrupting the tabloid, “page-turner” quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Equal parts a elegy, memoir, detective story, meditation on violence (and serial, sexual violence in particular), and conversation between the living and the dead, Jane ’s powerful and disturbing subject matter, combined with its innovations in genre, shows its readers what poetry is capable of―what kind of stories it can tell, and how it can tell them.

Award-winning poet and essayist Anne Boyer delivers a one-of-a-kind meditation on pain, vulnerability, mortality, medicine, art, time, space, exhaustion, and economics—sharing her true story of coping with cancer, both the illness and the industry, in The Undying.A week after her forty-first birthday, the acclaimed poet Anne Boyer was diagnosed with highly aggressive triple-negative breast cancer. For a single mother living paycheck to paycheck who had always been the caregiver rather than the one needing care, the catastrophic illness was both a crisis and an initiation into new ideas about mortality and the gendered politics of illness. A twenty-first-century Illness as Metaphor, as well as a harrowing memoir of survival, The Undying explores the experience of illness as mediated by digital screens, weaving in ancient Roman dream diarists, cancer hoaxers and fetishists, cancer vloggers, corporate lies, John Donne, pro-pain ”dolorists,” the ecological costs of chemotherapy, and the many little murders of capitalism. It excoriates the pharmaceutical industry and the bland hypocrisies of ”pink ribbon culture” while also diving into the long literary line of women writing about their own illnesses and ongoing deaths: Audre Lorde, Kathy Acker, Susan Sontag, and others. A genre-bending memoir in the tradition of The Argonauts, The Undying will break your heart, make you angry enough to spit, and show you contemporary America as a thing both desperately ill and occasionally, perversely glorious. Includes black-and-white illustrations

Soft Science explores queer, Asian American femininity. A series of Turing Test-inspired poems grounds its exploration of questions not just of identity, but of consciousness―how to be tender and feeling and still survive a violent world filled with artificial intelligence and automation. We are dropped straight into the tangled intersections of technology, violence, erasure, agency, gender, and loneliness.

Part elegy, part true crime story, this memoir-in-verse from the author of the award-winning The Argonauts expands the notion of how we tell stories and what form those stories take through the story of a murdered woman and the mystery surrounding her last hours. Jane tells the spectral story of the life and death of Maggie Nelson’s aunt Jane, who was murdered in 1969 while a first-year law student at the University of Michigan. Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area between 1967 and 1969. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche. Exploring the nature of this haunting incident via a collage of poetry, prose, dream-accounts, and documentary sources, including local and national newspapers, related “true crime” books such as The Michigan Murders and Killer Among Us , and fragments from Jane’s own diaries written when she was 13 and 21, its eight sections cover Jane’s childhood and early adulthood, her murder and its investigation, the direct and diffuse effect of her death on Nelson’s girlhood and sisterhood, and a trip to Michigan Nelson took with her mother (Jane’s sister) to retrace the path of Jane’s final hours. Each piece in Jane has its own form, and the movement from each piece to the next―along with the white space that surrounds each fragment―serve as important fissures, disrupting the tabloid, “page-turner” quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Equal parts a elegy, memoir, detective story, meditation on violence (and serial, sexual violence in particular), and conversation between the living and the dead, Jane ’s powerful and disturbing subject matter, combined with its innovations in genre, shows its readers what poetry is capable of―what kind of stories it can tell, and how it can tell them.

Ella Rubenstein is forty years old and unhappily married when she takes a job as a reader for a literary agent. Her first assignment is to read and report on Sweet Blasphemy, a novel written by a man named Aziz Zahara. Ella is mesmerized by his tale of Shams's search for Rumi and the dervish's role in transforming the successful but unhappy cleric into a committed mystic, passionate poet, and advocate of love. She is also taken with Shams's lessons, or rules, that offer insight into an ancient philosophy based on the unity of all people and religions, and the presence of love in each and every one of us. As she reads on, she realizes that Rumi's story mir­rors her own and that Zahara—like Shams—has come to set her free. In this lyrical, exuberant follow-up to her 2007 novel, The Bastard of Istanbul, acclaimed Turkish author Elif Shafak unfolds two tantalizing parallel narratives—one contemporary and the other set in the thirteenth century, when Rumi encountered his spiritual mentor, the whirling dervish known as Shams of Tabriz—that together incarnate the poet's timeless message of love.

An illuminating book of concise craft essays and exercises for poets, from Pulitzer Prize finalist and The Poet’s Companion coauthor Dorianne Laux. From “a poet of immense insight and masterful craft” (Kwame Dawes), Finger Exercises for Poets is an engaging invitation to practice poetry alongside one of its masters. With wide-ranging examples from classic and contemporary poets, Dorianne Laux demystifies the magic of language that makes great poetry and offers generative exercises to harness that magic. She explores the syllable and the line, the use of form, poetic responses to contemporary events and personal experiences, the imaginative leap, and the power of a distinct voice. Throughout, Laux reminds us that poetry is a practice as much as an art, and that poets must hone their language as a musician practicing an instrument. An encouraging, accessible master class in reading and writing poetry, including more than fifty original prompts, Finger Exercises for Poets offers a trove of wisdom and inspiration for both experienced and aspiring poets.

"No other poet seems better suited to represent the United States as its Laureate in this era than Ted Kooser, and The Poetry Home Repair Manual should enhance his grip on our slumbering Republic." —Larry Woiwode, Poet Laureate of North Dakota, in North Dakota Quarterly Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend—a friend who is willing to share everything he’s learned about the art he’s spent a lifetime learning to execute so well. Ted Kooser has been writing and publishing poetry for more than forty years. In the pages of The Poetry Home Repair Manual , Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets—aspiring or practicing—can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry’s ultimate to reach other people and touch their hearts.

Literary Nonfiction. Poetics. "ORDERING THE STORM empowers readers to see the poetry collection as an artistic medium in itself, and offers diverse perspectives on the subject. Experienced writers and beginners alike will find inspiration and encouragement in the words of exceptional poets such as Maggie Anderson, Wanda Coleman, and Beckian Fritz Goldberg. This book should be required reading for all graduate student poets, even those who are still in the process of writing their first collection, because it includes essential information on poetic sequencing and useful strategies for examining a manuscript's possibilities. One of the most exciting aspects of the book is the sense of community that readers feel upon exploring each essay. ORDERING THE STORM transforms the task of arranging poems from a solitary undertaking to a collaborative adventure"--Mary Biddinger, Associate Editor of RHINO.

“Dimitrov is a vital new energy in American poetry.”— Los Angeles Review of Books “Truth-telling, raw, fierce with feeling.”— Brenda Shaughnessy “Dimitrov can sound at once hip and naive, devoted to the sincerities that other sorts of poets reject or obscure.”— Publishers Weekly Together and by Ourselves, Alex Dimitrov’s second book of poems, takes on broad existential questions and the reality of our current being seemingly connected to one another, yet emotionally alone. Through a collage aesthetic and a multiplicity of voices, these poems take us from coast to coast, New York to LA, and toward uneasy questions about intimacy, love, death, and the human spirit. Dimitrov critiques America’s long-lasting obsessions with money, celebrity, and escapism—whether in our personal, professional, or family lives. What defines a life? Is love ever enough? Who are we when together and who are we by ourselves? These questions echo throughout the poems, which resist easy answers. The voice is both heartfelt and skeptical, bruised yet playful, and always deeply introspective. from "Water" What is aging exactly? There are new jobs and people and someone dies before noon every day. I am swimming and swimming…in May or an ocean, I don’t see the reason. “But that’s unimportant,” you said. “Just keep doing it over again until one day you can’t.” Spring excites us and we know what it is every time. The minutes in meetings are life’s most undistinguished; that’s obvious. And what’s obvious makes us all fools then fast friends. Alex Dimitrov is the author of Together and by Ourselves (Copper Canyon Press, 2017), Begging for It (Four Way Books, 2013), and the online chapbook American Boys (Floating Wolf Quarterly, 2012). He is the recipient of the Stanley Kunitz Prize from the American Poetry Review and a Pushcart Prize. His poems have been published in Poetry, The Yale Review, Kenyon Review, Slate, Tin House, Boston Review, and the American Poetry Review. He is the Senior Content Editor at the Academy of American Poets where he edits the popular online series Poem-a-Day and American Poets magazine. He has taught creative writing at Rutgers University-New Brunswick, Marymount Manhattan College, Bennington College, and lives in New York City.

From the nuts and bolts of craft to the sources of inspiration, this book is for anyone who wants to write poetry-and do it well. The Poet's Companion presents brief essays on the elements of poetry, technique, and suggested subjects for writing, each followed by distinctive writing exercises. The ups and downs of writing life―including self-doubt and writer's block―are here, along with tips about getting published and writing in the electronic age. On your own, this book can be your "teacher," while groups, in or out of the classroom, can profit from sharing weekly assignments.

In an era of rising nationalism and geopolitical instability, Megan Fernandes’s Good Boys offers a complex portrait of messy feminist rage, negotiations with race and travel, and existential dread in the Anthropocene. The collection follows a restless, nervy, cosmically abandoned speaker failing at the aspirational markers of adulthood as she flips from city to city, from enchantment to disgust, always reemerging—just barely—on the trains and bridges and bar stools of New York City. A child of the Indian ocean diaspora, Fernandes enacts the humor and devastation of what it means to exist as a body of contradictions. Her interpretations are muddied. Her feminism is accusatory, messy. Her homelands are theoretical and rootless. The poet converses with goats and throws a fit at a tarot reading; she loves the intimacy of strangers during turbulent plane rides and has dark fantasies about the “hydrogen fruit” of nuclear fallout. Ultimately, these poems possess an affection for the doomed: false beloveds, the hounded earth, civilizations intent on their own ruin. Fernandes skillfully interrogates where to put our fury and, more importantly, where to direct our mercy.

After her mother died, poet Victoria Chang refused to write elegies. Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.

A professional organizer and a renowned ADD clinician join forces to present this guide that addresses the unique needs of adults with ADD. It offers organizing advice that ranges from self-help to utilizing the help of nonprofessionals to using professional assistance.

When Hilton was a boy, his grandmother sacrificed her life to save him from drowning. Thirty years later, he begins to suspect that he was never meant to survive that accident, and that dark forces are working to rectify that mistake.  When Hilton's wife, the only elected African American judge in Dade County, Florida, begins to receive racist hate mail from a man she once prosecuted, Hilton becomes obsessed with protecting his family. The demons lurking outside are matched by his internal terrors—macabre nightmares, more intense and disturbing than any he has ever experienced. Are these bizarre dreams the dark imaginings of a man losing his hold on sanity—or are they harbingers of terrible events to come?  As Hilton battles both the sociopath threatening to destroy his family and the even more terrifying enemy stalking his sleep, the line between reality and fantasy dissolves . . .  Chilling and utterly convincing, The Between is the haunting story of a man desperately trying to hold on to the people and life he loves as he slowly loses himself. 

A modern masterpiece from one of Italy’s most acclaimed authors, My Brilliant Friend is a rich, intense and generous-hearted story about two friends, Elena and Lila. Ferrante’s inimitable style lends itself perfectly to a meticulous portrait of these two women that is also the story of a nation and a touching meditation on the nature of friendship. Through the lives of these two women, Ferrante tells the story of a neighbourhood, a city and a country as it is transformed in ways that, in turn, also transform the relationship between her two protagonists.

Matilda Boseley’s adult ADHD diagnosis was a massive, earth-shattering event. She was given a prescription but had no idea what ADHD meant for her identity, her relationships or her future.Twelve months of confusion later, journalist Matilda embarked on an epic voyage to figure out what’s really happening in the stormy seas of the ADHD brain and write the guide she wished she’d had.The Year I Met My Brain is the ultimate travel companion for navigating and enjoying life as an ADHD adult, - what adult ADHD symptoms look like- why so many ADHDers (especially females) are missed as kids - how the disorder impacts our relationships, careers and self-esteem- why we unfairly treat ourselves like failures – and how to find self-forgiveness and healing- practical tips for social and organisational wins- and, most importantly, how to make our lives work to fit our brains rather than trying to force our brains to fit our lives.Uplifting, empowering, deeply researched and sparkling with 'a-ha' moments, The Year I Met My Brain is an invaluable resource for ADHDers and those who love them.

In his journal, Nobel Prize winner John Steinbeck called East of Eden “the first book,” and indeed it has the primordial power and simplicity of myth. Set in the rich farmland of California’s Salinas Valley, this sprawling and often brutal novel follows the intertwined destinies of two families—the Trasks and the Hamiltons—whose generations helplessly reenact the fall of Adam and Eve and the poisonous rivalry of Cain and Abel. Adam Trask came to California from the East to farm and raise his family on the new rich land. But the birth of his twins, Cal and Aaron, brings his wife to the brink of madness, and Adam is left alone to raise his boys to manhood. One boy thrives nurtured by the love of all those around him; the other grows up in loneliness enveloped by a mysterious darkness. First published in 1952, East of Eden is the work in which Steinbeck created his most mesmerizing characters and explored his most enduring themes: the mystery of identity, the inexplicability of love, and the murderous consequences of love's absence. A masterpiece of Steinbeck's later years, East of Eden is a powerful and vastly ambitious novel that is at once a family saga and a modern retelling of the Book of Genesis.