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A Walled Garden in Moylough demonstrates the ultimate gift of Joan McBreen’s poetry: her ability to distill the essence of a moment. She does this with an effortless elegance, a sure touch, and a lyric voice which is attuned to the inward echoes of the psyche.

In Alphabetica, Juliet Mattila guides readers through a poetic journey that captures moments of clarity and introspection within the intricate landscapes of memory, art, and nature. Her deft language and keen observation bring to life the invisible spectrum of emotions and experiences that define human existence. Through carefully crafted lines and a reflective voice, Mattila examines themes both personal and universal, inviting readers to see the world anew. This collection resonates with a timeless legacy, blending tradition with insight and paying homage to poetic forms while exploring contemporary depths. Alphabetica is a work that challenges and rewards, inviting readers who seek meaning in layered expressions of language.

"The presiding spirit behind Ginger Andrews first book, An Honest Answer, must be William Carlos Williams. When he said he wrote in the speech of Polish mothers, he could have included the American working class anywhere. The sinewy resilience in Andrews’ individual poems honors the tradition of his free verse lyrics. She listens for the poetic measure in American speech and reproduces it in unique forms. I would venture to say that the poetry of Ginger Andrews is as close to the tradition of Williams as American free verse has ever been. . . . As for the voice speaking to us in these poems, it is as fresh as Ray Carver seemed twenty-five years ago. Another poet who comes to mind is her fellow Northwesterner Vern Rutsala, himself a descendent of Williams, who, like Williams, has kept his eye on the working poor throughout his career. Andrews is working class, born again in Sappho, an Ahkmatova who cleans houses and teaches Sunday school. These figures come to mind not for the sake of hyperbole, but to help understand the originality of this new and remarkable poet."
—Mark Jarman

Breath in Every Room intertwines parents and children with encounters in the natural world. Ranging from birds in the forest to a boy’s captured frogs, from rattlesnakes in the prairie to a bat fallen from the sky. The book weaves in and out of myth and dream.

This collection of poetry by the editor of EXPANSIVE POETRY, focuses
on life in New York—in language alternately hip, and nostalgic, the ten
characters in “Nomads” focus on abortion, divorce, the forces threatening the neighborhoods, and the need to preserve the family; in “The Psychiatrist At the Cocktail Party: A Dramatic Sequence,” Feirstein presents in formal verse a hilarious, and disturbing cast of urban professionals, sexual bandits, opportunists and international terrorists.

Counterpoint, the first full collection of poems by David Alpaugh, was selected out of over 800 manuscripts for the seventh annual Nicholas Roerich Poetry Prize by Story Line Press in 1994. The subjects of the book’s contemporary, witty, bizarre, and often moving poems range from POWs and salespeople to art and the dead. Alpaugh’s works speak to one another—child to adult, animal to human, ad man to poet, New Jersey to California, and past to present. He writes with affection and care for each of these points of unlikely connection. Harold Witt called Alpaugh “a unique voice to hear now and to listen for in the future.” More than twenty-five years after Counterpoint’s initial publication, these words ring more true than ever.

Dreams Like Thunder takes place on a small Eastern Oregon farm between Baker and Hells Canyon. The story is set over a couple of days in 1959, but part of the family seems less in touch with the twentieth century than with the myth of their own pioneer past. The myth varies according to who is doing the telling. It is up to Alberta, who is ten years old and heir to both the farm and the myth, to discover some truth behind the stories—a truth that will help her know who she is and what her own future might be.

Excontemporary, a collection of poems by Beth Baruch Joselow, was published by Story Line Press in 1993. Jousting with form and language, the book combines image and idea in a painterly style. It contains poetry of sharp observation, coalescing gracefully into a thoughtful meditation on the inner life and the everyday. Mark Wallace, winner of the Gertrude Stein Prize in poetry, was among many that met Excontemporary with high praise: “Joselow’s poems discover, and uncover, keen truths that always surprise and unsettle and make us think again about things we believed we understood.”

This book is about Latina identity, a timely subject in today's America. The author’s journey begins as she, full of love for Mexico and its culture despite her closest blood connection being her bisabuela, boards a bus. She starts out determined: “Yes foreign is a word for fear. Yes I am coming home.” But then, because “it is afraid, staying in a language where you were not born,” she retreats, hiding first behind we, then behind masks. But when it becomes clear that the masks are her true self, she loses her fear, and barrels ahead as I, fully committed, all the way to the end.

An interdisciplinary scholar, devotee of the classics, and leading practitioner of Expansive Poetry, Frederick Turner asks in the introduction to Hadean Eclogues, “Suppose there could be a poetry, even a scientific description of reality, that left undamaged the principles, the honor, the history and myth, the ritual, the intellectual criteria of believers and unbelievers—as long as they were people of depth and thought and imagination?”

“Lola Haskins’s range is broad; her perceptions are always surprising. Natural objects surpass themselves and episodes of women’s history are rewritten in this lively, adventuresome collection.”
—Maxine Kumin

“ . . . Hunger is a cabinet of crystals each one with a cutting edge. It’s a wonder.”
—Beloit Poetry Journal

“She knows we are rooted to the earth but long for the stars. . . . And she’s wise enough to know that love searches us out. Dazzling.”
—Northwest Arkansas Times

“[The poems] richly present the experience of women, as the complexity of their material, emotional, and imaginative lives presses against the constraints of their assigned roles. . . wonderfully evocative.”
—The Hudson Review

“. . . Convincing and exquisitely visual. It plays off a painterly use of visualization and technique even as it enacts the limits of such artistry in the face of real feeling. . . . It is the clarity of Haskins’s poems and (her speakers’) observations, combined with the sometimes elegant, sometimes searing restraint with which the observations are made, that gives these poems their impact.”
—Colorado Review

Hurricane Sisters, award-winning poet Ginger Andrews’ second collection, contains poems of fierce candor and sharp, unique awareness from the perspective of Andrews herself, a cleaning woman in North Bend, Oregon. These Carver-esque insights into the everyday of the American working class balance grief, depression, lust, poverty, and, above all, faith; not in something beyond or higher than the living experience, but in a spirituality amidst the material truths of this world, even under the grimmest of circumstances. Hurricane Sisters stares into the holy, the barbaric, the beautiful and the hideous, the realities of blue-collar Americana, with the frankness and empathy of a survivor and a believer. It sees everything and never averts its eyes.

Structured like the movements of a New Orleans jazz funeral, this all-sonnet collection deals with death, loss, war, disaster, the binding power of community, and the celebratory spirit that reemerges after all. In the words of poet and critic David Mason: “Part elegy for a city and a way of life, part meditation on mortality and grace, this book is wonderfully, defiantly alive.”

"In his extraordinary book Memoirs of a Minotaur: From Merrill Lynch to Patty Hearst to Poetry, Robin Magowan (grandson of the founder of Merrill Lynch and nephew of one of the greatest poets of the twentieth century, James Merrill) turns his uncompromising vision and diamond-edged language toward the emotional terrain and the kind of privileged life very few of us have known, and against which he rebels. Unlike many memoirs, this one rewards the reader by enabling us to inhabit the rarefied existence the author both holds at arm’s length and admits into the chambers of his personal memory. Life is seen through a Proustian lens so that the narrative tells us as much about the man Magowan and his journey as it does about an entire world, one that encompasses business as well as social and personal upheaval, and ranges geographically from Manhattan and Southampton to Berkeley in the sixties, to Paris and Greece, and to other distant destinations, including the rarefied altitude of Tesi recognition that is both earned and liberating. Whether or not readers are familiar with Magowan’s stunning prose in his travel writings or with the voyages and discoveries finished by each carefully crafted chapter, Magowan’s writing bears an admirable family resemblance to that of his uncle’s work; for readers of James Merrill’s poetry, this memoir will hold an additional interest."—Helen Houghton and Bill Handley

Expanding the themes in The Presence of Things Past, his debut collection of stories, John Taylor reveals himself to be a master of the intimate in Mysteries of the Body and the Mind. Set in Iowa, Idaho, and France (where the author has lived since 1977), these twenty-four stories “act as a sort of reverse coming of age,” as Brian McCombie put it in his review of the first edition in The Bloomsbury Review, “with the memory evoked only now beginning to truly resonate in the main character’s life.” Lost love, unrequited love, or found love often function as compelling narrative impetuses. In subtle, allusive prose enriched by his long dialogue with European literature, this sensitive writer meditates on the passing of time and the quest for selfhood. Funny, sad stories with a final ironic twist are blended with short, dreamlike ruminations. Composed in a variety of styles, Taylor’s engaging prose goes straight to the reader’s heart.

This edition brings together selected poems from all six previous editions of Frederick Feirstein's poetry published between 1974 and 1997. Feirstein is one of the founders of Expansive Poetry which reaches out to audiences beyond the academy and incorporates free verse, formal, and narrative techniques. The poems in this selection combine extraordinary lyric and storytelling skills. A poet of urban anger, humour reconciliation, and revelation. Frederick Feirstein dares to work on an epic scale. His ambitious vision makes for a unique accessible achievement in American poetry. This broad selection of poems is a cause for celebration.

The precise gaze and chiseled language of the poems in Oldest Mortal Myth authoritatively convey a broad and deep knowledge. Whether a reimagining a Greek myth in order to infuse it with a contemporary pain, extending empathy and humorous Mitmenschkeit to both denizens and voyeurs of the world's freakshows, or describing with wit and experience the spiritual affects of medical conditions, the book is infused with restrained but piercing emotion, a subtle metrical ear, and enough daring and wit to write in rhymed couplets to take the obvious, easy way. For instance, with the last line of “De Wallen, Amsterdam”: “The moon above the spires, a sexless disk,/eyes us coolly as an odalisque.” I so admire the refusal to make that last line scan as a perfect iambic pentameter line. It would be so easy; all you’d have to do is add the grammatical, but colloquial, “as.” Which would have ruined the line, and the poem. Oh, and the rhymes in the canzone! There’s much to admire here, much to enjoy.
—Marilyn Nelson

The first anthology to present the most exciting and unexpected new movement in American poetry—the revival of rhyme, meter, and narrative among poets—Rebel Angels gathers the best work of twenty-five poets who write memorably and movingly in a dazzling variety of forms—some traditional, some newly minted—out of the diverse experiences of their generation.

Contributors include Elizabeth Alexander, Julia Alvarez, Bruce Bawer, Rafael Campo, Tom Disch, Frederick Feirstein, Dana Gioia, Emily Grosholz, R.S. Gwynn, Marilyn Hacker, Rachel Hadas, Andrew Hudgins, Paul Lake, Sydney Lea, Brad Leithauser, Phillis Levin, Charles Martin, Marilyn Nelson, Molly Peacock, Wyatt Prunty, Mary Jo Salter, Timothy Steele, Frederick Turner, Rachel Wetzsteon, and Greg Williamson.

Stephen Gibson’s poems are the work of a serious, intent, often appalled tourist. The word might look like a putdown, but his subject is the glamour and horror of history, and when it comes to the past, attentive tourism is the best that any of us can hope for. This tourist’s gaze if focused and fascinated, his tone is even and intelligent (as he has it in one poem, “scared in the headlights, but the brain busy nonetheless”), and his technique is all but flawless (unobtrusively so, a true case of art hiding art). Together the gaze, the subjects on which it alights, and the poet’s superlative skill add up to poems of astute, moving observation and often overwhelming authority.
—Dick Davis

Scene of the Crime exposes the poet’s inner criminality, where matricide and mother tongue engage in diabolic discourse. Confessing her outlaw sexuality, Ransom grapples with feminist theory and disembowels postmodern philosophy. Delighting in the multiplicity of self, language and desire, Ransom fires puns dead-aimed to riddle any interpretive reduction.

Six Mile Mountain is the seventh of Richard Tillinghast's twelve collections of poetry. The poems in this book, sometimes political in emphasis, sometimes sensual, sometimes elegiac, are rooted in the landscape of Ireland and America and explore love and betrayal, family, duty and grief, and the nature of personal identity. Tillinghast is adept with form, moving back and forth between free verse and metrical verse.

Sharon Hashimoto explores themes of what is heard and misinterpreted, what is left unexplained, and what is passed down in The Crane Wife. In these pieces, the Sansei poet leafs through old photographs—one of which is of a newlywed couple with the groom’s image cut away. Here is the rediscovered piece of barbed wire from outside the Heart Mountain concentration camp. That wire, a lei, and a car trip to an empty lot are all bits of evidence. Her questions address grandparents, mother and father, siblings, and the next generation. Hashimoto also reinvents Japanese folk tales and explores the different voices of the members of a downed JAL jet. Her poems travel in new directions in an attempt to fill in the gaps.

The Enemies of Leisure, a collection drawn from a decade of writing, wonders about the odd paradoxes of pleasure and mindfulness, leisure and labor, invisibility and truth. Bound by Aristotle’s comment, “Happiness appears to depend on leisure,” the book divides into four sections, gathering poems concerned with sex and love, home and distances, idleness and work, and uncertainty and death. Mixing traditional and open forms, as well as high and low idioms, these poems’ symmetry depends on remaining always precise without making too much sense, as they yoke the influences of Ashbery and Rich, Dorn and Wilbur, poets otherwise as estranged from each other as waffles from lust, domestic chores from Beauty and the Beast, ideas from hamburgers, and dying from a train trip cross country.

There are “no things / without the ideas we call them by,” proclaims the book’s opening poem, “American Ghost,” inverting Williams’s dictum not to undermine the dominant aesthetic principle of contemporary American poetry so much as to turn it inside out, to make room for a poetry that oscillates between the ghostly presence of thought and the constant fading of experience. Making their bleak way forward toward the new millennium from the barracuda under a tropical bay to “above the abundant sand of the Sudan,” these poems express the importance of being “grateful for / those interruptions in the blink / of time we had,” while cultivating “the grace to know what to ignore.”

The Island begins with a haunting 1848 journal entry from a man jailed on Spike Island in Ireland: “Gazing on gray stones, my eyes will grow stony.” Nearly 150 years later, Rosemary Canavan, a poet and painter, teaches literacy at the prison on Spike Island. How do her painter’s eyes and poet’s spirit meet the stony gray of prisoners’ eyes? Throughout these poems, and especially in her long sequence “The Island,” Canavan explores with tenderness and pathos the plight of the incarcerated. With lyrics that seem to be written in primary color, Canavan also celebrates love and children, her struggles as a working mother, and the emerging, vibrant feminist consciousness of a new generation of Irish women.

The Long Conversation combines David Dooley’s books The Volcano Inside and The Revenge by Love to create an extended dialogue between past and present, between stories of everyday life and accounts of historical figures, between the demands and delights of art and those of life, culminating in an eleven-poem sequence about the painter Georgia O’Keeffe and her husband, the photographer Alfred Stieglitz. Lyrical moments flourish within traditional dramatic monologues and a bold and unusual mix of other narrative strategies. The language ranges from vigorous Southern dialect, and even profanity, to a confident and original high style. In The Long Conversation, love is always complicated, the angle of vision is often surprising, and language must be able to cope with every kind of challenge.

Each person lives but a single life—yet this is not wholly true. While our lives progress as a result of the choices we make—this career, that husband, this town, that house—we are left imagining a life we might have lived. If we are defined by our choices, in what ways are we limited by them? What of the spiritual lives we lead, the inner lives that others cannot truly know? Which life is truest?

A woman recalls her special bond with her father and compares it with her ties to other men; a man copes with his unloved life and finds a way to secretly inherit it; after making love for the first time, a young woman wishes to go back in time, erase what she’s done.

In readable, finely wrought, resonant, and memorable poems about the nature of longing and disappointment, desire and betrayal, pleasure and sorrow, The Other Life explores the dualities in life that every person experiences.

Collecting stories from John Taylor’s upbringing in Des Moines, these “charming evocations of a Midwestern childhood” (as the French film director Louis Malle called them), recall an “average” neighborhood in the 1950s and 1960s. The death of the author’s mother gives rise to these sensitive reminiscences, which also conjure up first loves, playmates, and a motley assortment of true-to-life characters who express their modest joys and lasting secret sorrows. The Presence of Things Past (the title alludes to the eleventh book of the Confessions of Saint Augustine), is a tribute to a lost mother, a lost neighborhood, a lost city, and a lost childhood.

The forty poems in this first book by an Irish writer explore a variety of traditional and contemporary themes that combine to create the modern Irish consciousness. Beginning with poems that look back forty years or more on a childhood spent in the fabled country of Sligo, the book moves effortlessly to present-day issues of raising a family and making sense of the political turmoil unique to the country. Throughout the collection, McBreen also grapples with the contemporary Irish woman’s fight to assert her independence, asserting her own generous autonomy in the process. McBreen’s readers will quickly recognize the foundations of one of the world’s great oral traditions behind these evocative lyrics, and they will come away knowing much more about everyday Irish life than they did before.

Frederick Feirstein's tenth book, Time's Refugee, is chock-full of some of his best lyric and dramatic poems.

They are passionate, wise, and totally accessible to the general public. The diction is colloquial and the form excels in meter and rhyme.

Adele Slaughter’s first book of poems, What the Body Remembers, was published by Story Line Press in 1994. It is an autobiographical collection of glimpses into a childhood fraught with familial violence, alcoholism, and trauma, and the life that has been led in its wake; the failure of a marriage and the experiences that forever mold us as human beings. Through all the abuse and suffering these poems portray, however, the driving theme behind What the Body Remembers never falters: the reader is left with an inspiring picture of courage, perseverance, femininity, and the survival of the truest self. The subject of the work remains always the poet, the speaker, even as great attention is drawn to the circumstance surrounding her, providing an impactful example of how our greatest pains may leave us changed, but not defined, and never defeated. Pat Monaghan called the book “a stunning debut volume.”

Without Asking marks Jane Ransom’s debut as a book author, initially placing her within the poetic tradition of narrative Confessionalism. But one can already sense here the ambivalence that would lead both to a break from narrative—in her second poetry book, Scene of the
Crime—and her subsequent return to narrative in Bye-Bye, her first novel. This is a writer whose epistemological inquiry continuously turns both inward and outward, from linear to non-linear and back again, in an unrelenting quest for Truth.