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The "brilliant and challenging" (Library Journal) exploration of living with HIV by the winner of the 1999 James Laughlin Award.First published in 1993, this virtuosic collection defined writing about AIDS for a generation of poets. Chaotic and incantatory, it is a submersion into the railing consciousness of a young woman on the precipice of mortality, its "dazzling and valiant poems the psalms of our present moment" (Sharon Olds).

Here is Anzia Yezierska's life story, from the Polish ghetto to the sweatshops of New York's Lower East Side, from success as a writer in Hollywood in the 1920s to disillusionment and a return to poverty. With courage and emotion, Yezierska reveals what success and failure felt like and what they meant to her, as a woman and as an artist.

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.

Written in the years following the sudden death of a cherished friend, Arrhythmia traces the shock doctrine of grief as it electrifies the lives of those left behind. Alliances shift. Loss multiplies. Poems call out from the body, wrestling the twin impossibilities of memory and meaning in language that is by turns starkly simple and twistingly inventive. A tribute to queer friendship, these poems weave chronic grief (a damaged planet, social injustice) with the stab of a loved one's sudden absence-of what happens to the vibrant particulars of a life when it ends.

The Man Grave portrays the corrosiveness, violence, and loneliness of all-too-familiar strains of American masculinity. In perceptive and moving poems, Christopher Salerno explores patriarchy, boyhood, lust, misogyny and homophobia, infertility, and family in an effort to diagnose-and remedy-inherited patterns of manliness. "Have I / made it any further than my father / in his laughter, before his slaughter?" Salerno writes. His new collection is a moving and generous answer.

In his poetry, "at once boisterous and lubed, anxious and ambivalent" (Kenyon Review), Randall Mann has always had his finger on the pulse of modern life. In his liminal new book of poetry, a gay, multiracial ("they called me yellow in Lexington") speaker exists in the rift between the "fluorescent rot" of childhood and the "action; / transaction" of a sex-app midlife. The author of Straight Razor and Proprietary,  Mann has long been admired for merging raw subject matter with formal ease. A Better Life shows him at the height of his gifts, in the clipped, haunting truth of its rhymes and rhythms.

Tributary tells the heartbreaking story of family fracture-of sisters' estranged, a brother excommunicated. Arranged as a church service, in tension with the ubiquitous, mythic river that floods their landscape, these fierce and urgent poems seek to expose the struggles and failings of family and faith, the rigidity of conditional love and loyalty. As they do, they mirror our national systemic crises of Islamophobia, sexism, gun violence, fanatical religiosity, and white nationalism. In Tributary, a woman rejects the laws of the "book of truth" that she is raised under in order to discover and claim her own morality.

The poems in Town Crier wryly express the pervasive nature of loss, how it suffuses all aspects of a life: memories, hopes, love, sex, lunch. The death of the author's dear friend, the late poet Max Ritvo, becomes the cornerstone of the book, a foundational pain along which the poems are aligned. The poems grieve. They try to cope. They come up short. They try again, insisting as they do that language holds consequential, redemptive powers. Sarah Matthes is equal parts jester and conjurer, sensing the precious alchemy of laughter and lament, crying out to those who have left her and those who remain.

In Shoreless, her fifth collection of poetry, Enid Shomer continues to explore her passionate relationship with the Florida landscape, the inextricable web of family, and the challenges of the body. While studded with the austere recognitions of growing older, these poems are punctuated by humor and play-formally elegant and inventive, beautifully textured and nuanced. Throughout the book, Shomer employs the  language of science and Eros to uncover the exquisite truths of pain and pleasure.

Sometimes compact, sometimes expansive, the poems in Ghost Hour emanate from adolescence and other liminal spaces, considering girlhood and contemporary womanhood-the ways both are fraught with the pleasures and limits of embodiment. As in her previous poetry, Laura Cronk writes personally, intimately, yet never without profound consideration of onslaught of contemporary violence, which we must love in spite of and rage against.

Walking through the landscape of loss, the poems in Heaven Beneath explore the illness of a parent and the parallel ongoing degradation and destruction of the planet and its creatures. Beneath "paved-over space," in the deep currents of a river, or the shadows of great trees, there's another world, there's a heaven, unknowable, in the muck, alive and with us, not distant or abstract. Using music as an essential force, as the conductor, and meditating on the deep lyric, Anne Marie Macari's poem summon mystery, energy, and a longing to enter, to touch, our heaven beneath, to walk with loss, to give in to the whole, the complete.

Still re-imagines the Renaissance concept of the studiolo, a room displaying cabinets of wonder, each juxtaposing human-made art objects, such as miniature still-life paintings, with natural ones-harbingers of the coming wonders and catastrophes of travel brought back from distant lands Europeans claimed as "discoveries."These poems shimmer with the wonders of the natural and aesthetic worlds-and in doing so, reckon with environmental, colonial, and sexual violence, with the oppression of silencing as well as the reclamation of voice. In confronting violations of body, family, culture, and nature, Still gives voice and image not only to what is still, what has been stilled, and what is in danger of being forever stilled, but also to the marvel of survival.

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.

When a writer googles the name of her first love and discovers he committed suicide years ago, she is deeply shaken. Memories of Petrus begin to flood into her mind, followed by the memories of other loves, one after another. What exactly is love?  How does it come and go?  She begins to search her personal history for answers. Twelve men. Twelve chapters in a novel.  Melancholy Petrus, handsome actor Jakob, Simon with his pet rat, gay Nathanael, a student, her brother. Her husband's story is supposed to be the last.  But as story after story unfolds, the past and present entangle until her orderly search is interrupted by present-day complications of love and by a startling event overlooked at home that begins to seize the plotline of both her art and life.

In Ridiculous Light, Valencia Robin captures the everyday and the ecstatic in a voice all her own. Through poems that live at the intersection of history and experience, she captures the joys and tumult of being alive. She is a storyteller of the first order, a documenter not just of memories but of how we remember.

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!).

In thisbook-length poetry sequence, a mother inherits a leather box that was hergrandmother's. Her daughter joins her on a reconstruction of family history.Together they traipse through graveyards and sift through endless photos andclippings, piecing together what used to be in order to understand who theyare.

Inthis lyrical and unflinching debut, a landscape of staggering beauty abutsindustrial towns in the throes of economic decay. Emily Van Kley exploresnotions of home, estrangement, isolation, and longing against a backdrop ofcrystalline winters, Lake Superior's mythic tempers, and forests as vast asthey are close.

In urgent newpoems, Mitchell L. H. Douglas depicts the assault on people of color inAmerica's increasingly divided Heartland. A devotee of American popularculture, fromrock 'n' roll to Star Wars to Marvel comic books, Douglas now wonders whetherwe will withstand its most odious, self-destructive elements in this searingcollection.

For years, RandallMann has been hailed as one of contemporary American poetry's most daringformalists, expertly using craft as a way of exploring racy subjects with trenchantwit and aplomb. His new collection, Proprietary,depicts with the insights of a longtime insider the culture of corporateAmerica, in which he's worked for years, intertwined with some of histried-and-true subjects, including gay life in the wildly disparate worlds ofSan Francisco and northern Florida.

The first American Jewish anthology in a decade to include both established masters and the newest generation of gifted storytellers.The authors gathered here represent contemporary American Jewish fiction at its best. Drawn from the renowned rooftop reading series at Ansche Chesed, a synagogue on the Upper West Side in New York City, Scribblers on the Roof brings together revered masters, such as Cynthia Ozick, Lore Segal, and Max Apple, with gifted newcomers, including Pearl Abraham, Jon Papernick, and Dara Horn. Whether set in New York, Jerusalem, Moscow, or in Paradise, their storiesfunny, tragic, sensuous, surprisingsparkle with originality, vitality, and chutzpah.Among the other contributors are Jonathan Ames, Myra Goldberg, Ken Kalfus, Binnie Kirshenbaum, Jonathan Levi, Mary Morris, Sonia Pilcer, Jonathan Rosen, Norma Rosen, Lucy Rosenthal, Lynne Sharon Schwartz, Steve Stern, and Aryeh Lev Stollman.

Winner of the 2016 Lexi Rudnitsky Editor's Choice Award, this potent collection revisits a backwoods Virginia marred by sexual violence. In explosive poems, which explore the confluence of trauma and desire, Heather Derr-Smith reclaims a troubled past, empowering the present through an unlikely chorus of grace and fury.