Taking its inspiration from the wonder and curiosity cabinets of the late Renaissance, David Barber's second book of poems offers itself up as an eclectic gallery of natural marvels and historical gleanings. Creation is Barber's chief subject and he often concentrates on how human nature is constantly seeking to impose definition and significance upon the natural world. These are poems that meditate on all manner of wondrous phenomena: falconry and funiculars; the knotted quipus of the Inca Empire and the tulip mania of the Dutch Golden Age; the lore and language of field guides, epitaphs, beekeeping, and seafaring; the ghostly vestiges of the La Brea tar pits and the ancient library of Alexandria. Then, in an innovative suite of "New World Sutras" composed in haiku stanzas, Barber riffs on the American genius for self-invention and epic ambition by calling up landmark figures such as Audubon, Houdini, Babe Ruth, and Buster Keaton. With a formal and verbal precision that is rife with agile music, avid wordplay, and mordant wit, Barber delves deeply into the realms of both natural history and popular culture.

Longlisted for the 2018 National Book Award in Poetry Winner of the National Poetry Series Competition, selected by Cornelius Eady--an exploration in verse of imperial appropriation and Mexican American cultural identity "Marvelous, argumentative, and curiosity-provoking" --The New York Times Book Review The poems in J. Michael Martinez's third collection of poetry circle around how the perceived body comes to be coded with the trans-historical consequences of an imperial narrative. Engaging beautiful and otherworldly Mexican casta paintings, morbid photographic postcards depicting the bodies of dead Mexicans, the strange journey of the wood and cork leg of General Santa Anna, and Martinez's own family lineage, Museum of the Americas gives accounts of migrant bodies caught beneath, and fashioned under, a racializing aesthetic gaze. Martinez questions how "knowledge" of the body is organized through visual perception of that body, hypothesizing the corporeal as a repository of the human situation, a nexus of culture. Museum of the Americas' poetic revives and repurposes the persecuted ethnic body from the appropriations that render it an art object and, therefore, diposable.

In the spring of 2010, the Brooklyn-based quarterly magazine Cabinet invited poet and cultural critic Wayne Koestenbaum to begin writing a regular column. Entitled "Legend," the column had a highly unusual premise. Every three months, the editors of the magazine would ask Koestenbaum to write one or more extended captions for a single photograph with which they had provided him; drawn from obscure vernacular, commercial and scientific sources, all of the images were unfamiliar to the author. After 18 installments, Koestenbaum concluded his column in the winter of 2015. Notes on Glaze, featuring an introductory essay by the author, collects all the "Legend" columns, as well as their accompanying photographs. Refusing the distancing language of critical disinterest, Koestenbaum's columns always locate the author in intimate proximity to the subjects portrayed in the photographs and to the impossibly variegated cast of characters--ranging from Debbie Reynolds to Duccio, the Dalai Lama to Barbra Streisand; from Hegel to Pee-wee Herman, and Emily Dickinson to Cicciolina--that pass through these texts. Wayne Koestenbaum (born 1958), a Distinguished Professor of English at the CUNY Graduate Center, has published 17 books of poetry, criticism and fiction, including My 1980s & Other Essays (Farrar, Straus and Giroux, 2013), Blue Stranger with Mosaic Background (Turtle Point Press, 2012) and The Anatomy of Harpo Marx (University of California Press, 2012). His most recent book of poetry, The Pink Trance Notebooks, was published in 2015 by Nightboat Books.

A compilation of poetry of great beauty and searing honesty, this book consists of two long experimental sequences: the title poem "Dream Cabinet," set on an island in Sweden, and an eloquent account of the poet's first marriage entitled "Answers I Did Not Give to the Annulment Questionnaire." Exploring the full cycle of human life, this collection responds to compelling personal, political, and environmental issues of modern times while remaining aware of the evanescence of all mortal experience.

The third volume in Cabinet's 24-Hour Book series--a collaboration between poet Matthea Harvey and artist Amy Jean Porter--imagines a world where Up and Down, connected by horizontal zippers to the Middle, suddenly unzip themselves, leaving humans to a world without contrails or dachshunds.

The Whisky Cabinet is written for today's whisky drinker and navigates straight to the centre of what really matters: enjoying some of the most delicious whisky in the world. It does it in language that is easily understood. There is a seemingly countless number of distilleries making more whiskies than ever before, The Whisky Cabinet focuses on top-quality whisky distilleries to help you build your whisky cabinet.

A compact collection of more than 500 poems from Jack Kerouac that reveal a lesser known but important side of his literary legacy “Above all, a haiku must be very simple and free of all poetic trickery and make a little picture and yet be as airy and graceful as a Vivaldi pastorella.”—Jack Kerouac Renowned for his groundbreaking Beat Generation novel On the Road, Jack Kerouac was also a master of the haiku, the three-line, seventeen-syllable Japanese poetic form. Following the tradition of Basho, Buson, Shiki, Issa, and other poets, Kerouac experimented with this centuries-old genre, taking it beyond strict syllable counts into what he believed was the form’s essence. He incorporated his “American” haiku in novels and in his correspondence, notebooks, journals, sketchbooks, and recordings. In Book of Haikus, Kerouac scholar Regina Weinreich has supplemented a core haiku manuscript from Kerouac’s archives with a generous selection of the rest of his haiku, from both published and unpublished sources.