Winner of the Max Ritvo Poetry Prize: A “luminous [and] memorable” debut that searches widely to ask what it means to exist in a state of loss (Publishers Weekly). “We lived overlooking the walls overlooking the cemetery.” So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy. These are poems of frequent swerves and transformations, which never stray far from an engagement with science, geography, art, and aesthetics, nor from the dream logic that motivates their incessant investigations. While John James begins with the biographical—the haunting loss of a father in childhood, the exhausted hours of early fatherhood—the questions that emerge from his poetic synthesis are both timely and universal: What is it to be human in an era where nature and culture have fused? To live in a time of political and environmental upheaval, of both personal and public loss? How do we make meaning, and to whom—or what—do we turn, when such boundaries so radically collapse? “A poet of staggering lyricism, intricate without ever obscuring his intent. Quite simply, The Milk Hours announces the arrival of a great new talent in American poetry.” —Shelf Awareness

Describes what life is like for a dairy cow on a Wisconsin farm, telling how they are milked, what they eat, and what they produce besides milk.

A genre-expanding collection of stories that Publishers Weekly calls “perplexingly captivating” and “astonishing.” Wild Milk is like Borscht Belt meets Leonora Carrington; it’s like Donald Barthelme meets Pony Head; it’s like the Brothers Grimm meet Beckett in his swim trunks at the beach. In other words, this remarkable collection of stories is unlike anything else you’ve read.

There is no bigger issue for healthy infants than sleeping through the night. In this simple, straightforward book, Suzy Giordano presents her amazingly effective “Limited-Crying Solution” that will get any baby to sleep for twelve hours at night—and three hours in the day—by the age of twelve weeks old. Giordano is the mother of five children and one of the most sought-after baby sleep specialists in the country. The Washington Post calls her a baby sleep "guru" and "an underground legend in the Washington area for her ability to teach newborns how to achieve that parenting nirvana: sleeping through the night." Her sleep plan has been tested with singletons, twins, triplets, babies with special needs, and colicky babies—and it has never failed. Whether you are pregnant, first-time parents, or parents who seek a different path with your second or third child, anyone can benefit from the Baby Coach’s popular system of regular feeding times, twelve hours of sleep at night and three hours of sleep during the day, and the peace of mind that comes with taking the parent and child out of a sleep- deprived world.

From multi-award-winning Neil Gaiman comes a spectacularly silly, mind-bendingly clever, brilliantly bonkers adventure with lip-smackingly gorgeous illustrations by Chris Riddell

"You must go to the dragon. You must leave tonight." Before she even hears the words, Kaeldra already knows what she must do. She must search out the mother dragon whose draclings have just hatched and somehow get some of her precious milk. It's the only way to save her foster-sister's life. Kaeldra would rather not go. It's much too terriffying, much too dangerous. But Kaeldra knows that she's the only one who can do it. For she is the only one who can actually communicate with dragons. But little does Kaeldra know what she's getting into. She's about to begin a journey that will entwine her fate with that of three little draclings and one would-be dragonslayer. A journey the will become a struggle for life.

National Book Critics Circle Award Finalist Adding to the Latina tradition, Carmen Giménez Smith, politically aware and feminist-oriented, focuses on general cultural references rather than a sentimental personal narrative. She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility. The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokov’s Lolita, Facebook entries and Greek gods, they appear as part of the poet’s cultural critique. Phrases such as “the caustic domain of urchins” and “the gelatin shiver of tea’s surface” take the poems from lyrical images to comic humor to angry, intense commentary. On writing about “downgrading into human,” she says, “Then what? Amorality, osteoporosis and not even a marble estuary for the ages.” Giménez Smith’s poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrator’s personality. Deftly blending a variety of tones and styles, Giménez Smith’s poems offer a daring and evocative look at deep cultural issues.