An anthology of harrowing and insightful poems written in 1932 by Martha Hedwig Nasch, patient-inmate #20864 at the St. Peter State Hospital for the Insane. After noticing something strange from a secret medical procedure in 1927, St. Paul, Minnesota, Martha Nasch's doctor claimed she just had a "case of nerves." With a signature from her adulterous husband, Martha was committed against her will to the asylum. She spent nearly seven years in the Minnesota hospital during the Great Depression and tried to escape twice. Martha's poems written from behind bars include shocking eyewitness accounts of patient mistreatment and a long-suffering adoration for her only child, now being raised alone by her deceiving spouse. When not a soul believed Martha's story, she sought an explanation for her mysterious condition that led her to a spiritual answer for the mystifying curse. Would her findings make her a metaphysical guru of the Breatharian lifestyle, or would she become the laughingstock of her Depression-era family? Editing and arrangement by Martha's great-granddaughter, Janelle Molony, with an introduction by Jodi Nasch Decker, granddaughter and family historian. More than fifty photographs and illustrations are included with the historical research that accompanies this beautiful collection of poems. Learn more at JanelleMolony.com

Winner of the 2000 Agnes Lynch Starrett Poetry Prize 2002 finalist in poetry, Society of Midland Authors Quan Barry’s stunning debut collection has been compared to Sylvia Plath’s Ariel for the startling complexity of craft and the original sophisticated vision behind it. In these poems beauty is just as likely to be discovered on a radioactive atoll as in the existential questions raised by The Matrix. Asylum is a work concerned with giving voice to the displaced—both real and fictional. In "some refrains Sam would have played had he been asked" the piano player from Casablanca is fleshed out in ways the film didn’t allow. Steven Seagal, Yukio Mishima, Tituba of the Salem Witch Trials, and eighteenth-century black poet Phillis Wheatley also populate these poems. Barry engages with the world—the Tuskegee syphilis experiments, the legacy of the Vietnam war—but also tackles the broad meditative question of the individual’s existence in relation to a higher truth, whether examining rituals or questioning, "Where is it written that we should want to be saved?" Ultimately, Asylum finds a haven by not looking away.

The remarkable Poems for the Asylum was written over several months while poet Daniel J. Lutz was in and out of various mental health facilities while being treated for various illnesses and emotional breakdowns of perhaps some of the toughest moments of his life. Like reading a journal, the poems within this book are contemplations that approach difficult emotional subjects from the loss of romantic love to grief and personal struggle. The poems record the experience of humanness and desperate striving to obtain understanding of one's self through the difficult stages of healing. From suicidal to endeavoring to succeed, all aspects of the journey are recorded without apprehension. These writings are rich with emotion, thought and intelligence put in language that simplifies distress and honors that pain can be beautiful. Daniel J. Lutz's stunning Poems for the Asylum is a journey through the mind and heart of a person who is willing to show how far the spirit can stretch and though it may falter, it does not have to break.

The true story of the woman who would not eat, drink, or sleep for seven years... After noticing something strange from a secret medical procedure in 1927, St. Paul, Minnesota, Martha Nasch's doctor claimed she just had a "case of nerves." With a signature from her adulterous husband, Martha was committed against her will to the asylum. She spent nearly seven years in the Minnesota hospital during the Great Depression and tried to escape twice. Martha's poems from behind bars include shocking eyewitness accounts of patient treatment and a long-suffering adoration for her only child, now being raised alone by her deceiving spouse. When not a soul believed Martha's story, she sought an explanation for her mysterious condition that led her to a spiritual answer for the mystifying curse. Would her findings make her a metaphysical guru of the Breatharian lifestyle, or would she become the laughingstock of her Depression-era family? The biography includes a full anthology of harrowing and insightful poems written by Martha Hedwig Nasch, patient-inmate #20864 at the St. Peter State Hospital for the Insane. Editing and arrangement by Martha's great-granddaughter, Janelle Molony, with an introduction by Jodi Nasch Decker, granddaughter. More than fifty photographs and illustrations are included with the historical research that accompanies this beautifully preserved collection of poems.

Poet, novelist, essayist, playwright, and author of more than thirty books, Diane Glancy has established herself as one of the countryÕs most versatile and prolific writers. Distinguished by her laconic honesty, her unflinching eye, and her skillful articulation of the commonplace, she presents Native American lifeÑespecially the ways it intersects with nonnative cultureÑin all its complexity and nuance. In her new collection of poems, she explores the history of loss that has marked the Cherokee community. In a voice that is as economical as it is eloquent and as sophisticated as it is exhilarating, she describes the loss of family, the loss of cultural heritage, and the loss of old worlds as new ones encroach. In one poem, a farm auction becomes an auction of culture, of heritage, of the past. In others, ancestors meet in a twenty-four-hour cafŽ, lunch is shared with a great-grandmother who has been traveling the universe, Christ appears as a cowboy in an apocalyptic vision, and Clytemnestra is discovered in a snakeskin. Some of the poems are as campy as a duck-decoy Custer in a shooting gallery. Some glitter with dime-store glue. Others speak with the reflection of sunlight off a stream. Sometimes the verse produces a shortstop language on the baseline of experience. In whatever form they take, GlancyÕs poems stimulate and challenge the reader with their unfettered, unadorned, and unpretty purity. This collection is not only a spirited ride across the Great Plains, it is also an important addition to the literature of whiteÐNative American cultural relationships.

Constellated When the atoms in my body return to stars They will not remember this five am out my window, neither the moor asleep on the horizon, nor, across her darkened hips, the scatters of bright yellow gorse.

Winner of the 2021 National Book Award for Poetry From the winner of the Ruth Lilly Poetry Prize come masterfully crafted narratives of protest, grief and love. Martín Espada is a poet who "stirs in us an undeniable social consciousness," says Richard Blanco. Floaters offers exuberant odes and defiant elegies, songs of protest and songs of love from one of the essential voices in American poetry. Floaters takes its title from a term used by certain Border Patrol agents to describe migrants who drown trying to cross over. The title poem responds to the viral photograph of Óscar and Valeria, a Salvadoran father and daughter who drowned in the Río Grande, and allegations posted in the "I’m 10-15" Border Patrol Facebook group that the photo was faked. Espada bears eloquent witness to confrontations with anti-immigrant bigotry as a tenant lawyer years ago, and now sings the praises of Central American adolescents kicking soccer balls over a barbed wire fence in an internment camp founded on that same bigotry. He also knows that times of hate call for poems of love—even in the voice of a cantankerous Galápagos tortoise. The collection ranges from historical epic to achingly personal lyrics about growing up, the baseball that drops from the sky and smacks Espada in the eye as he contemplates a girl’s gently racist question. Whether celebrating the visionaries—the fallen dreamers, rebels and poets—or condemning the outrageous governmental neglect of his father’s Puerto Rico in the wake of Hurricane María, Espada invokes ferocious, incandescent spirits.

The poems of The Wild Rose Asylum give to the women of the Magdalen laundries a voice that sharpens the air. The testimonies rendered here are stark yet fiercely lyrical, bearing witness to generations of lost women and lost freedom.

Description Bound by the need for breath We lie on beds of foaming rubber. But the room is filled with The rhythm of blood and need and the story. We lie quietly, listening. The whales are singing each to each. It is my last article of belief: They understand their music. You and I only have words. Outside the window The sea, the sea. Searching for safe havens; wanting to cut loose. Trying to make peace with death, love and madness. Learning that we can wound and be wounded. Looking for solace and meaning through rage and confusion. Jerry Pinto's debut collection of poems, Asylum, established him as a true original, a writer unafraid to be vulnerable, to take risks, to open the door and blunder into the world or let it sweep in. He travels, wrote Imtiaz Dharker, 'the breathtaking spaces between madness, luminosity and quiet rebellion...This is a writer who draws precise lines of control, and then, with surprising tenderness, crosses them.'