"These are enormously arresting, odd, wryly humorous, gripping poems. And the variety of subject matter is astounding. I don't know when I've enjoyed reading a book so much. "—David Budbill

"Reading Jeffrey McDaniel's gorgeously dark and utterly compelling Chapel of Inadvertent Joy reminds me that he is probably the most important poet in America. The book in your hands was written by a master of metaphor and a poet of huge imagination and fierce ingenuity, a fine antidote to realism. Get this voice in your head. "—Major Jackson

"What a rich array of music lies within Listening Long and Late. With refreshing authenticity, Everwine weds playfulness to practice, lyricism to narrative, pathos to the ordinary. Indeed, he has listened 'long and late' to the music of such venerable masters as Tu Fu, the hidden genius on the street, and the anonymous Aztec poets of the fourteenth and fifteenth centuries. Everwine writes with the same 'deified heart' that divines the mystery of his quotidian subjects in a language that is at once plain and poetic. His own work seamlessly segues into his translations from the Hebrew and Nahuatl, as if all the poems belonged to the same poet, which they in fact do, as the glorious multitudes of Peter Everwine, one of the masters of our age."—Chard deNiord

In Jan Beatty’s fourth collection, The Switching/Yard, she takes us through the ravaged landscape of the American West. In unflinching lines of burning lyric and relentless narrative, she forges the constructed body into movement. What is still stereotyped as the romantic journey—now becomes as scarred as the Rust Belt. What lives in our collective unconscious as the Golden West becomes almost surreal, as these poems snap that vision in half with extended description of ghost explorers.We see the open truck cab, the farm workers on the corner waiting for pick-up; we see the speaker returning west to find the long-abandoned story of the birthfather. There is no stable landscape here except the horizontal action of moving through. Landscape becomes story. In this extended tale of the idea of family, we find stand-ins for the father in the form of a hit man, Jim Morrison, and ultimately the unyielding road takes the place of the body. The Switching/Yard is at once the horizontal world of the birth table where babies are switched, the complex yard of the body where gender routinely shifts and switches, and the actual switching yard of the trains that run the inevitable tracks of this book.

Daisy Fried’s third book of poetry is a book of unsettling, unsettled Americans. Fried finds her Americans everywhere, watching Henry Kissinger leave the Louvre, trapped on a Tiber bridge by a crowd of neo-fascist thugs, yearning outside a car detailing garage for a car lit underneath by neon lavender, riding the train with Princeton seniors who have been rejected by recession-bound Wall Street, feeding stray cats drunk at midnight, bitching at her mother in the labor room, shopping with wide-bodied hunters for deer-dismembering band saws in the world’s largest supplier of seasonal camouflage, cursing her cell phone and husband at eighty-five miles an hour, hiding behind the mask of an advice column to proclaim Charles Bukowski \u201cAmerica’s greatest poetess.\u201d There is nothing like this book, because there is nothing in it but America. No comfort, no consolation, no life-affirming pats on the back, no despair about God, no fear or acceptance of death, no irrational exuberance, no guilt or weariness, no misery even in the middle of personal and political crisis. Plenty of humor and plenty of seriousness. Joy. And a new kind of poetry: not nice, but rich and real.

Translations from the Flesh, Elton Glaser's seventh full-length collection of poetry, is driven by the powerful engines of love and desire. In poems long and brief, playful and intense, Glaser evokes what it feels like "to fall into / Love and its infinite mistakes." In a style that might be described as "flamboyant stoicism" (a phrase from Simon Callow,) he explores our human urgencies and weaknesses, following wherever our appetites lead us, whether hormonal or spiritual, cravings that we struggle to understand. The voice that says "Apprentice me to mysteries of the flesh" speaks for everyone intent on making sense of the body's restless yearning for fulfillment. These poems, with their witty brio and passionate precision of language, agree with Gerald Stern that "the brain / is the best organ for love." At the same time, they are not afraid to get down in the dirt, among the more primitive pleasures. Whatever their bent, from moony aspirations to "rare positions only the wicked know," the poems express Glaser's mission to give voice to those deep pressures that move us, body and soul: "I put my native tongue / To work, open to / The dark instincts of ecstasy."

Finalist, National Book Critics Circle Award. In Blowout, Denise Duhamel asks the same question that Frankie Lyman & the Teenagers asked back in 1954—"Why Do Fools Fall in Love?" Duhamel's poems readily admit that she is a love-struck fool, but also embrace the "crazy wisdom" of the Fool of the Tarot deck and the fool as entertainer or jester. From a kindergarten crush to a failed marriage and beyond, Duhamel explores the nature of romantic love and her own limitations. She also examines love through music, film, and history—Michelle and Barak Obama's inauguration and Cleopatra's ancient sex toy. Duhamel chronicles the perilous cruelties of love gone awry, but also reminds us of the compassion and transcendence in the aftermath. In "Having a Diet Coke with You," she asserts that "love poems are the most difficult poems to write / because each poem contains its opposite its loss / and that no matter how fierce the love of a couple / one of them will leave the other / if not through betrayal / then through death." Yet, in Blowout, Duhamel fiercely and foolishly embraces the poetry of love.

This is the second volume of a trilogy (the first was The Plum Flower Dance) in which Weaver analyzes his life, striving to become the ideal poet. In The Government of Nature, Afaa Michael Weaver explores the trauma of his childhood—including sexual abuse—using a "cartography and thematic structure drawn from Chinese spiritualism." Weaver is a practitioner of Daoism, and this collection deals directly with the abuse in the context of Daoist renderings of nature as metaphor for the human body.

Appetite is a book that explores our American Mythologies, particularly masculinity and film. Smith investigates our fascinations with the body, gender, and entertainment in poems that are critically observant, darkly funny, darkly angry, and, sometimes, heartbreaking.Whether he is cataloging shirtless men in films and bad television, lyricizing the anxieties of childhood, or redrawing the lines of cultural membership, Appetite attacks its subjects with wit, candor, and compassionate intensity. These poems announce their presence with a style that is as beautifully wrought as it is provocative.In the America of Appetite, the usual hierarchies are obliterated: the disposable is as valuable as the traditional, pop culture is on the same level as the sacred, and the pleasurable simultaneity of past and present are found in high art and the tabloid. Smith’s work engages our contemporary moment and how we want to think of ourselves, while nodding to rich poetic, cultural, and personal histories.

"Emotionally direct and visually all alike in column-shaped free verse, the poems in this debut from the Minneapolis-based Kiesselbach open up to show startling verbal skills, intellectual depths, and sensory complications. 'Beach Thanksgiving' wheels from seaside scenes into one, then another, sad memory: 'Fire’s an assortment of sparks down the beach/ beside which your new family cooks./ Asked to bear a ring,/ you pulled and pulled at your hair. ' For an elderly mother, once a gardener, 'Joy’s bolted/ in her face to sorrow/ like a pair of shears.' Marital love in the present (Kiesselbach has a particular talent for love poems), what looks like abuse in the past, the cycle of green growing things, the cold of the north, and the warmth of the animal world all inform these investigations of confession and its discontents, of commitments given and withheld, sometimes through stark life story but more often, in a wonderful involution, through symbols contemplated at short remove—in turkeys, for example, whose unlikely dignity rebukes human discontents: 'In fall’s/ ballroom they bow/ and straighten, straighten,/ bow, and finish/ with a salad course.'\u201d—Publishers Weekly

This collection is divided into three sections. The first opens with the speaker’s reflections on her childhood loss of her father and subsequent move to a new house and a new life, a life in which she is always alert to the absences and danger but also a life in which she begins to see language as a kind of salvation. This section also develops the speaker’s first knowledge of sex, primarily in the poems, \u201cThe Goose Girl\u201d and \u201cA Woman Was Raped Here. \u201d The second section follows the speaker into adolescence and young adulthood, and these poems further explore the sexual violence in the world in which the speaker lives, and how this violence affects her own feelings toward sex and romantic love. In the third section, the book finds love, work, and family, and the poems in this section about motherhood echo back to the first section as the speaker’s own parenting is influenced by how difficult it is to love when you know people die.

Whirlwind is one woman’s frank, witty, mordant, sexy look at the breakup of a marriage and its emotional aftermath. With her characteristic linguistic play and mixture of poetic registers and styles, Sharon Dolin takes her readers on an off-the-tracks emotional ride through the whirlwind that goes by the name of divorce. Hang on tight. Here poems are never merely confessional, but use formal aplomb to ride the white-heat rage, hurt, denial, reflection, regret, wistfulness, desire, and sexual passion as they go hurtling through the many stages of grief after the death of a relationship and the rebirth of a more vital self. Dolin tackles difficult subjects unflinchingly in her poems: such as betrayal and the shame of the one being betrayed, being a parent within a volatile breakup, as well as some startling poems on the reawakening of sexuality and an attention to the natural world and politics. In her poem that won a Pushcart Prize, she dons the mask of the Furies to confront her ex-husband and his lover. A journalist of her own heart, Sharon Dolin has written a brazen collection that seethes with the pressure of a story to tell: cathartic and thrilling in equal measure.

Winner of the 2011 Cave Canem Poetry Prize “Nicole Terez Dutton’s fierce and formidable debut throbs with restless beauty and a lyrical undercurrent that is both empowered and unpredictable. Every poem is unsettling in that delicious way that changes and challenges the reader. There is nothing here that does not hurtle forward. ” —Patricia Smith Chosen by the Black Caucus of the American Library Association as a 2013 Honor Book Winner for poetry.

Voted one of the five best poetry collections for 2012 by Publishers Weekly, Animal Eye employs pastoral motifs to engage a discourse on life and love, as Coal Hill Review states "It is as if a scientist is at work in the basement of the museum of natural history, building a diorama of an entire ecosystem via words. She seem snot only interested in using the natural world as a metaphoric lens in her poems but is set on building them item by item into natural worlds themselves."

Family continues to be a wellspring of inspiration and learning for Blanco. His third book of poetry, Looking for The Gulf Motel, is a genealogy of the heart, exploring how his family's emotional legacy has shaped—and continues shaping—his perspectives. The collection is presented in three movements, each one chronicling his understanding of a particular facet of life from childhood into adulthood. As a child born into the milieu of his Cuban exiled familia, the first movement delves into early questions of cultural identity and their evolution into his unrelenting sense of displacement and quest for the elusive meaning of home. The second, begins with poems peering back into family again, examining the blurred lines of gender, the frailty of his father-son relationship, and the intersection of his cultural and sexual identities as a Cuban-American gay man living in rural Maine. In the last movement, poems focused on his mother's life shaped by exile, his father's death, and the passing of a generation of relatives, all provide lessons about his own impermanence in the world and the permanence of loss. Looking for the Gulf Motel is looking for the beauty of that which we cannot hold onto, be it country, family, or love.

Frederico García lived in Manhattan from 1929 to 1930, and the poetry he wrote about the city, Poet in New York, was posthumously published in 1940. Eighty years after Lorca’s sojourn to America, Nathalie Handal, a poet from New York, went to Spain to write Poet in Andalucía. Handal recreated Lorca’s journey in reverse.