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In SOFAR, poet-naturalist Elizabeth Bradfield attends our current ecological and historic moment, her decades-long queer love, a life time of work on boats, and her body's shifting currents with wry yearning and linguistic delight. SOFAR is an acronym for the "sound frequency and ranging channel," a deep layer of oceanic water that enables sound to travel vast distances, and, drawing upon her deep knowledge and experience of the sea, Bradfield plumbs what can be heard by listening across the vast distances of our lives-within our memories and larger histories, between strangers and beloveds, and to the more-than-human world. Bradfield's work as a naturalist gives an earned intimacy and nuanced authority to her eco-grief, field observations, and metaphoric leaps as she regards whales, cusk eels, and storm petrels. These are the poems of a woman unafraid of navigating the depths and rip currents she moves through.

Brimming with music, bursting with flora, the poems in Valencia Robin's second collection are both a walking tour of local neighborhoods and a journey into space and across time-ways of looking and listening to the past in order to find our best way forward. Engaging with an array of artistic heroes-James Baldwin, Amiri Baraka, Eavan Boland, Gwendolyn Brooks, Etheridge Knight, Audre Lorde, Nina Simone, Pablo Neruda, and Stevie Wonder among them-Robin looks for guidance, grounding, and even hope in spite of the traumas she witnesses and experiences daily. In one striking masterpiece, she gives voice to a prescient childhood icon, Lieutenant Uhura of Star Trek, who brings the show's unfulfilled vision of interstellar racial harmony to bear on the killing of black and brown bodies in contemporary America.  Whether set in space or down the block in Charlottesville or Milwaukee, the poems in Lost Cities offer us hope amid the heartbreak of a fractured world.

In Other Times, Midnight, her debut collection, Andrea Ballou explores the aftermath of loss-death, divorce, and departures-and asks the toughest questions: how do we contend with grief and remorse, and where does the spirit go to wait out trauma? Ballou's poems fight our "impulse to not speak," aware that naming, and that speech itself, is a matter of life and death. Her startling and often humorous images rooted in the fields, forests and domesticity of rural life are juxtaposed with oblique, at times irreverent, adaptations of Celtic and Greek myth and biblical stories. For Ballou, language is both tool and weapon, as useful and durable as a hoe, wheelbarrow, sword, thread. Caught "in the mouth of midnight," these poems wrestle with the numinous, their voices-cranky and cajoling, always compassionate and vulnerable-urging us toward the fullness of being human, daring us, despite it all, to love again.

"Ingenious out of necessity, A Mother Is an Intellectual Thing centers around the scapegoating and exile of the author by her mother. In these essays, Kimberly Grey harnesses her formidable intellectual and creative resources to create coherence for an unstable, traumatized self. To do so, she calls on-beseeches-dozens of brilliant thinkers and artists for help, among them Etel Adnan, Roland Barthes, John Cage, Anna Freud, Mina Loy, Elaine Scarry, Gertrude Stein, and Simone Weil. Grey's engagement with these figures (and many others) is part of her effort to stabilize, if not fully comprehend, the inconceivability of her maternal banishment. By thinking her pain rather than feeling it, Grey becomes an expert witness to her own trauma, a ponderer of motherhood even as her identity as daughter has been rescinded"--

We Call to the Eye and to the Night is an amalgam of eminent poets -Hayan Charara, Leila Chatti, Nathalie Handal, Fady Joudah, and Naomi Shihab Nye, among them-and those who have just begun to make their mark. These poets are descended from diverse countries and represent a breathtaking intersection of voices, experiences, and perspectives. Divided into whimsical sections (named for lines from poems they include), the anthology features an evocative array of erotic and romantic selections, as well as ones portraying love of family, friends, heritage, and homeland. Exquisitely curated and introduced by acclaimed authors Hala Alyan and Zeina Hashem Beck, We Call to the Eye and to the Night is at once sexy, sensuous, adventurous, and nostalgic-a treasury of love emanating from the Arab world and its diaspora.

In this exquisite anthology, esteemed poets from America, Italy, and elsewhere follow the renowned Piero Trail, a route through Tuscany and Umbria that features some of the most acclaimed frescoes by the legendary Renaissance painter, Piero della Francesca. The resulting poems-including ones by Henri Cole, Jorie Graham, Charles Wright, and Patti Smtih-capture Piero's incomparable influence in the artistic, literary, and spiritual worlds, generated as they are by the transcendence of Piero's timeless powers. Including twelve reproductions of Piero's frescoes, a foreword by Rosanna Warren, and an introduction by anthologist Dana Prescott, Feathers from the Angel's Wing is unforgettable collection, a book to be cherished by lovers of art, artists, and the spirits that move them.

For nearly two decades, Patrick Rosal has been one of the most beloved and admired poets in the United States, bringing together the most dynamic aspects of literary and performance poetry. The son of Filipino immigrants (his father was a lapsed Catholic priest), he has made a life of bridging worlds-literary, ethnic, national, spiritual-through his poetry, and has been recognized with some of the highest honors and countless devoted readers. The Last Thing: New & Selected Poems, gives us a substantial playlist of new work-hard-hitting and big-hearted-along with ample selections from his first four books. Bursting with music, infused with love and awe, this is essential reading from a poet of vigor and conscience.

Fanya, a young Polish Jew, living and working on the Lower East Side, attends a lecture by a famous educator, Henry Scott, that seems meant specifically for her.  Scott calls America "the meeting ground of all the nations of the world" and exhorts Americans to "blaze a trail to a future where people would be judged not by membership in a group  . . . but as individuals on their own merits."   On an impulse, Fanya goes to Scott's university office and boldly asks him to read the autobiography she has written. After a highly charged exchange, the rational, older, American professor is won over by the young, passionate, Jewish immigrant. She is his fascination; he is her "symbol of all she could never be." Scott becomes her mentor, leading Fanya to success as an author.  He also expresses romantic interest in her, but ultimately rebuffs her socially. Although she is crushed, instead of returning to the ghetto to live among "her own people," as so many before her have done, Fanya chooses to advance further into America. She buys a house in a quiet New England village, where, eventually, another newcomer becomes an unexpected soul mate-and she prepares to make a home.This moving portrait of a vibrant and talented immigrant woman is based on the author's true relationship with John Dewey, the important and famous educator who was her most significant influence. It depicts the workings of American society during the 1930s, especially between the privileged class and immigrants who were striving for a better life. It is an early and optimistic story of Jewish assimilation, and grapples with issues still faced by immigrants today.The comprehensive introduction by Dr. Catherine Rottenberg, who rescued the novel from obscurity, describes the novel's significance, placing it in the context of Yezierska's work and life, as well as within the Jewish American literary tradition.

Sappho meets Springsteen in Insecurity System by Sara Wainscott, a wry exploration of memory, motherhood, interdimensional time-travel, and the precarious future. Propelled by existential longing, these poems cycle between tenderness and rage, desire and despair, tracking the intertwined anxieties of making a living and making a life.

In Soft Launch, Aaron Belz takes what might seem normal to other people-a 1/3 full bottle of Prell left in a musty shower stall of a mountain cabin, for instance-and turns it over in the light until its true self emerges, a thirsty dolphin lost in the piney woods. Or so he claims. Regardless, in these poems, the sentimentalized experience of middle-age is about not just connectedness but overconnectedness, and to all the wrong things. Hyperaware, hypervigilant, and abundantly alert, Belz surveys the banal, the grinding quotidian, and asks not, "Is this all?" but rather "Isn't this not all?" And then he bows his head either to pray or to nap.

This heartrending and darkly playful new collection by Alexandra Teague tries to understand the edges of self in a patriarchal culture and in relation to a family history of mental illness and loss. In poems that mix high art and popular culture (from classical Greek statues to giant plaster artichokes, Cubism to Freudian Disney dolls), Teague interweaves self-reflection with the stories and lives of mythic and historic female figures, such as the dangerous-wise witch Baba Yaga and early-20th-century sculptors' model Audrey Munson--calling across time and place to explore desire, grief, and the representation and misrepresentation of the female form.

In Loves You, Sarah Gambito explores the recipe as poetic form and a mode of resistance. Through the inclusion of real recipes that she and her family cook from, she brings readers to the table?not only to enjoy the bounty of her poems but, slyly, to consider the ways in which Filipino Americans, and people of color in general, are assailed and fetishized. In addition, the book explores the manifold ways that poetry can nourish and provide for us. Gambito's poems have always been full zest and bite. Now she literally invites us to dig in with this long-awaited new book: Kain Na Tayo! (Let's eat!).

Thiscollection, winner of the 2014 Lexi Rudnitsky Editor's Choice Award, furtherestablishes Shane McCrae as an indispensible poetic voice. With hisunmistakable cadences, he probes insistently yet big-heartedly into someparadoxes of belief and righteousness, confronting God from the quagmire of hisupbringing: half-Black and raised by White supremacists.

Uncommon Prayer is a book about desire, and about the ways in which desire can and cannot be expressed, contained, or controlled by language.  Invoking the structural organization of the liturgical hours, the calendar, and the alphabet, Uncommon Prayer explores how external forms might compensate for the incommunicability of human want-that is, how the parts of expression that aren't found in dictionary definitions might help to make up for what our words never quite manage to express.

Winner of the 2013 Lexi Rudnitsky First Book Prize, a collection of gemlike poems combining delicacy with unmistakable hardiness. These poems are exquisite, deceptively complex revelations of the domestic and natural worlds: chiseled, unflinching, set beside a "painted paper lake/of gilded folds laid straight,/the gowned hills/on hidden feet/late coming light." Reminiscent of the writing of Robert Creeley, Shinn's debut conveys a life condensed-deeply felt and keenly observed.

Here is an impressive roster of poets from the past 75 years, including Hall of Famers like Richard Hugo, Irving Feldman, William Matthews, Marianne Moore, Ogden Nash, and May Swenson, and contemporary All-Stars like B.H. Fairchild, Linda Gregerson, Donald Hall, Denis Johnson, Yusef Komunyakaa, Thomas Lux, Gail Mazur, and others. In all, nearly one hundred poets represent the spectrum of verse writing about the National Pastime: from stickball and sandlot games to the Majors, from spectators to scrubs and superstars. They underscore baseball's particular poetic sensibility, capturing its rhythms, culture, and timelessness. Includes a Foreword by Daniel Okrent, acclaimed author (Nine Innings, Last Call, and others), inaugural Public Editor of the New York Times, and inventor of Rotisserie League Baseball, also known as Fantasy Baseball. A very classy collection, excellent poetry and excellent baseball-a perfect gift.

Nâzim Hikmet (1902-1963), Turkey's best-loved poet and a commanding presence in its public life, lived through a turbulent era-the end of the Ottoman Empire, the rise of Communist Russia, and the birth of the Turkish Republic. Born into the Ottoman elite, Hikmet embraced Communist ideals and joined the revolutionary ranks at nineteen. Of passionate temperament, he lived his life full-tilt, deeply romantic in his loves and uncompromising in his politics-for which he spent more than a third of his life in prisons or in exile. His stirring free verse in simple words, praising his country, his women, and the common man, was considered "subversive" and banned for decades. Today it is available in more than fifty languages, and Hikmet is recognized worldwide as a major twentieth-century poet.

Hikmet's final book--an autobiographical novel about a man who is imprisoned for being a Communist, his friends, and the women he loved. Considered to be a major work in his oeuvre. This is the first publication in English translation.

When Emma Hardy died in 1912, her husband, the great novelist and poet Thomas Hardy, began to write "Poems of 1912-13," a series of elegies that are among the most moving in the English language. Although the couple had been estranged for years, after her death Hardy fell under Emma's spell again and was enthralled by her as he hadn't been in decades. He transformed his hopelessly revived love into poetry, pouring out his yearning and passionate attachment to a love forever lost."Poems of 1912-13" and the other elegies about Emma included in this volume have been read and discussed by poets and scholars for almost a century but never collected in their own book. Their accessibility, emotional power, and focus on the mysterious complexities of marriage make them of interest to a broad public. Readers will cherish this beautifully produced, illustrated volume of poetical testaments to enduring love.

Written during the Second World War while Hikmet was serving a thirteen-year sentence as a political prisoner, his verse-novel uses cinematic techniques to tell the story of the emergence of secular, modern Turkey by focusing on the always-entertaining stories of sundry characters from all walks of life. As his vignettes flash before our eyes at movie-like speed, it becomes clear he is also telling the turbulent story of the twentieth century itself and the ongoing struggle between tradition, which trusts in God, and modernity, which entrusts the world to human hands.