This poetry book is about the story of a girls journey through self healing and growth after her parents split and her whole world turned upside down, The Scars that Never Heal takes you into dark places, confusing situations, but most importantly to the light at the end of the tunnel. Sometimes we have to go through the dark in order to see and find our light, and when we finally get to our light, the darkness reminds us that the things that we are afraid of the most, actually make us the strongest. And in time, we will thank that darkness and chaos for the person we have grown to become. We will look at the scars it gave us and realize our power- the ability we have to overcome. Our scars are the beauty that teach us how to endure and keep on going. A symbol of our capability to live day after day. That is why they never heal. Because even if it hurts to remember, we will always have that reminder that we survived.

My Scars Are Now My Beauty Spots is a picture painted to speak. Imagine the opportunity to follow the journey of rainwater as it forms puddles, watching it flow to nearby streams and dams, and eventually making it to the vast open shores of the ocean. Envision the breeze, sand, and sense of calmness...Divinity uses poetry to lure you into her world; a world with different pieces of mirrors, each piece uniquely reflecting fragments of who you are and shared similar experiences. In a world that one calls home, one has home-cooked meals, family cheer, and laughter but there is more when one looks closer. The book showcases the union of stories and poetry; it allows one an opportunity to watch spoken word become real. "All dressed up in our Sunday best, we crossed the main road and up the road we went. We took the first right turn and maybe another turn, then lo and behold we were greeted by big chains locking and securing the gate. My brother and I thought that was where our journey would end but to our dismay, there was another church my mother had heard of from another colleague and that is where we were now going."

"You are not broken, you're becoming."--Back cover.

At only 14 year old, Deyanira Vargas, opens up about her sexual abuse and her road to recovery. This 3 chapter poetry book, allows you to dig deep into her thoughts allowing you to see how she dealt with depression, anxiety and PTSD. She hopes to inspire others to shine light on dark situations.

Hard to imagine that no one counts, that only things endure. Unlike the seasons, our shirts don't shed, Whatever we see does not see us, however hard we look, The rain in its silver earrings against the oak trunks, The rain in its second skin. --from "Scar Tissue II" In his new collection, the Pulitzer Prize-winning poet Charles Wright investigates the tenuous relationship between description and actuality--"thing is not an image"--but also reaffirms the project of attempting to describe, to capture the natural world and the beings in it, although he reminds us that landscape is not his subject matter but his technique: that language was always his subject--language and "the ghost of god." And in the dolomites, the clouds, stars, wind, and water that populate these poems, "something un-ordinary persists." Scar Tissue is a groundbreaking work from a poet who "illuminates and exalts the entire astonishing spectrum of existence" (Booklist).

My Scars Tell a Story By: Mark Everett Kelly My Scars Tell a Story is Mark Everett's battle with cancer. Given a death sentence, Mark relied on his doctors, family, and faith in Jesus Christ for strength. This book is inspired by Mark's promise to share his story to galvanize those who suffer. You can overcome and rise above the pain and obstacles of life.

Jennifer Maritza McCauley's 'Scar On/Scar Off' runs the borderlands of mestiza consciousness, by turns neon-lit and beating, defiant and clashing, searching and struggling, in fistfuls of recognition, in constant pursuit of intersections and dualities. Drawing on Audre Lorde, Gloria Anzaldua, Toni Morrison, Claudia Rankine, and the inspirations of her late friend Monica A. Hand, through polyglossia and hybrid text, McCauley evokes vividly the relationships between psyche and city, identity and language. In the rhythm and snap of these poems and fragmentary stories, we find echoes of Sarah Webster Fabio, Beyonce, flamenco, Nikki Giovanni, street slang, danger and hope. This is a profound collection, a rebel language.

Literary Nonfiction. Sparked by the only two letters--out of over a hundred-that López Medin's mother saved from her own mother in Paraguay, THE POEM THAT NEVER ENDS weaves together poems and family photos to explore the fragmentation of time, memory, and mother-child relationships. Fragments, family hearing impairments, ripped-up letters, and living and writing between languages point to the inescapable holes in language, troubling the notion of a finite utterance. Layering elements of painting, cinema, and the elusive three dimensions of theater into the weave, THE POEM THAT NEVER ENDS traces a sequence of mothers-López Medin's mother, her mother's mother, herself as a mother-in a porous, restless gesture toward what's never fully grasped.

Poetry. Women's Studies. Young Adult. Somewhere between the stem and the fruit is that paradoxical nexus, the point that is both connection and separation, from where you came, to what you are becoming, the scene of the severing, the letting go, the stepping away, the necessary violence and the radical isolation required to be oneself, wholly. And, perhaps, holy. "The poems are written / before they occur to me," Gwen Frost declares at the conclusion of her shattering first collection. "Something about a scar, something about a hymn." She says that poetry saved her life, making this volume a document of that on-going process of healing, and a gift and a hope for others on the same journey. Foremost, it is a document of a contemporary young woman negotiating her way through a perilous world. "Turns out, there are a million different ways to kill a girl," she observes in "Watch," a poem that references Hitchcock's advice to "torture the women" in order to make a popular film, and by extension the misogynistic voyeurism that fetishizes violence against women. This book documents more than a few of those ways, and nowhere more chillingly than in the poem "sticking heads in the sand," in which the query "How was your summer?" follows up almost casually with another question, "What was your rapist's name?" In the inventory of anticipated experience for a young woman, "summer love and sexual assault / adventures and attacks" go hand in hand, "heads pushed into sand" both an act of violence and an act of willful forgetting. Gwen Frost won't forget, and won't let us forget. She is fiercely self-examining and self-revealing, admitting her chief fear is "what I am capable of, I am afraid / that I could kill a man, / and I am afraid / that I might like it." In lieu of this (perhaps understandable) act of violence, she exorcises and expiates through her verse. In the process, she might save us along with herself. She concludes that she "will write one, unshareable poem, / and I will let it die with me, simple and / forever, folded neatly in my throat." This is her one prediction that we must hope is untrue, for we need her to write many, many more poems, and to share them for many years to come.

This striking work of narrative nonfiction tells the true story of six-year-old Sachiko Yasui's survival of the Nagasaki atomic bomb on August 9, 1945, and the heartbreaking and lifelong aftermath. Having conducted extensive interviews with Sachiko Yasui, Caren Stelson chronicles Sachiko's trauma and loss as well as her long journey to find peace. This book offers readers a remarkable new perspective on the final moments of World War II and their aftermath.