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Arranged in four sections named for the seasons, these poems trace a relationship through the arc of a symbolic year, exploring desire and place and identity. Insofar as they express a speaker's state of mind, these are lyric poems. The author says: "These carnivorous lyrics, backhand love poems, and sorta sonnets embody the gut-punch poetic." Illustrated with linoleum cuts by Chad Poovey

Bradford Graves' Mythology of Stone reveals his profound relationship to his primary material."The making of sculpture may be taken as a desire for wholeness: The recognition of one's identity as part of the earth and its materials. In the confrontation of one's inner image with physical materials, a dialogue begins and the result is a sculptural statement. ... The process is analogous to crystallization. First there is the idea, the basis of an internal ordering of structure, expanded or split into different units. From this, the resulting segmentation of a conceptual idea through physical units hints at the crystallization. They become like stars in the night sky, each defined by its own space, but perceived together they make up the fabric of a universe." -Bradford Graves

The largest section of As Water Moves made up mostly of reconstructed or remembered events in the poet's life, necessarily isolated from one another to support either narrative or argumentative coherence or both. Towards the end of that section ("One Lane Road") and in the "Letters From Kepler" section he ventures into the broader question of what life might be. Life is difficult to describe for him, but it is likened to water or air, the mind's attention, love, time, rushing to get a train, in that it flows. As far as we can tell, the flowing never stops. So, the poems in this book rely heavily on specific encounters with the smaller elements of the cosmos, but a few of them try, one might say, riding a bull, where like a bull rider, the poet, is bucked off. The section called "Manhattan" celebrates Mitchell's love of the city that never sleeps. The "Prairie Warp" section continues his long interest in identifiable biotas (Adirondacks, tundra in "Half/Mask", and The Everglades in "The One Good Bite in the Saw-Grass Plant"), in this case the vast ocean bottom known as the North American Prairie, as encountered in Canada's Grasslands National Park in southern Saskatchewan. Finally, the "Letter to Maira Azam" is a kind of poem rarely written now, a letter of thanks to a living stranger.

Fossil & Wing, Jason Barry's award-winning chapbook of lyric poetry, is loosely structured around the themes of memory and forgetting, love and loss, and the challenges of conceptualizing and articulating what it means to be human. In their sustained attention to sound and image, these well-crafted, emotionally resonant poems explore not only the nature of perception and our engagement with the natural world, but also the-often fraught-relations we have with family members, romantic partners, and the narratives that give meaning to our lives. With a restrained elegance, the poems in Fossil & Wing stand as a poignant testament to the transformative and revitalizing power of poetry.

A philosophical quest-romance that draws equally from visionary poetry and from modern pop culture.

The poems in Steady are narratives, persona poems and portraits, and lyrics. In writing them, I have tried to hold steady, so steadiness might connect them like a bridge. Steadiness is a quality most appreciated in old age when it becomes more elusive. My narrative poems about Frida Kahlo, Leonora Carrington, Lee Miller, Iris Origo, Ruth Asawa, and Imogen Cunningham are the result of years of engagement with their lives and their works. The separate events of "An Art Story" coalesced into a narrative with overlapping voices. Ideas may come from my own backyard or half a world away; from snatches of stories recounted, read, or observed; people known or glimpsed in passing; events of the past resurfacing into the present. I continue to find inspiration in cycles of the seasons; the lives of plants and animals; our beloved, fragile earth. The arrow of time moves in one direction. Poetry finds in the music of words and shaded meanings a space for contemplation, with windows and mirrors looking outward and inward, inviting us back.

Learning a New Way to Listen, Gerry Grubbs new book, deals with grief and its aftermath. How grief grows out of love, is love, and how grief yields a greater love. Leading to the realization that nothing is ever lost.¿Sample poem:BRAIDEDI watch you braid your mother's hairYour hands working like hersIn the slow rhythm of the workAnd I see how my thoughts of herAre braided together the way our hands wereOr the way our scent was braided togetherWith the gardenias at night whenNo thoughts were neededNow I am alone with the flowersStartlingly white in this darknessAs if they too were missing her