It might surprise you who’s a fan of poetry — when it meets them where they are. Before he became an award-winning writer and poet, Brian Sonia-Wallace set up a typewriter on the street with a sign that said “Poetry Store” and discovered something surprising: all over America, people want poems. An amateur busker at first, Brian asked countless strangers, “What do you need a poem about?” To his surprise, passersby opened up to share their deepest yearnings, loves, and heartbreaks. Hundreds of them. Then thousands. Around the nation, Brian’s poetry crusade drew countless converts from all walks of life. In The Poetry of Strangers, Brian tells the story of his cross-country journey in a series of heartfelt and insightful essays. From Minnesota to Tennessee, California to North Dakota, Brian discovered that people aren’t so afraid of poetry when it’s telling their stories. In “dying” towns flourish vibrant artistic spirits and fascinating American characters who often pass under the radar, from the Mall of America’s mall walkers to retirees on Amtrak to self-proclaimed witches in Salem. In a time of unprecedented loneliness and isolation, Brian’s journey shows how art can be a vital bridge to community in surprising places. Conventional wisdom says Americans don’t want to talk to each other, but according to this poet-for-hire, everyone is just dying to be heard. Thought-provoking, moving, and eye-opening, The Poetry of Strangers is an unforgettable portrait of America told through the hidden longings of one person at a time, by one of our most important voices today. The fault lines and conflicts which divide us fall away when we remember to look, in every stranger, for poetry.

"It makes no sense. You would be strangers / if not for this." In Strangers, Rob Taylor makes new the epiphany poem: the short lyric ending with a moment of recognition or arrival. In his hands, the form becomes not simply a revelation in words but, in Wallace Stevens' phrase, "a revelation in words by means of the words." The epiphany here is not only the poet's. It's ours. A book about the songlines of memory and language and the ways in which they connect us to other human beings, to read Strangers is to become part of the lineages (literary, artistic, familial) that it braids together--to become, as Richard Outram puts it, an "unspoken / Stranger no longer."

In an illuminating collection of selected poems over thirty-five years, one of our most essential American poets casts a clear eye on our politics, our places, and our heart’s hidden stories. D. Nurkse’s immigrant parents met on a boat out of Europe in 1940; he was a child of the generation whose anxieties were forged in the shadow of Hiroshima and the aftermath of WWII. His poems extend that child’s dignified ignorance into an open encounter with the cataclysms of the latter twentieth century and with family structures. Whispers of the old country of Estonia provide the backdrop for the boy’s baseballs, thrown in the fading twilight of the 1950s (“Secretly, I was proudest of my skill / at standing alone in the darkness”). The young man explores sexual passion and the arrival of a child in a young marriage (“We showed her daylight in our cupped hands”), while the mature poet writes of loneliness and community in our cities (“but on the streets / there was no one”), and the urgent need for us to keep expressing our will as citizens. Throughout this matchless career, over eleven books, Nurkse has crafted visceral lines that celebrate the fragility of what simply exists—birdsong, moonrise, illness, water towers—and the complexity of human perception, our stumble forward through it toward understanding.

This completely original collection of poetry and prose will not only delight her avid fans but is sure to capture the imagination of a whole new audience. With the turn of every page, Sea of Strangers invites you to go beyond love and loss to explore themes of self-discovery and empowerment as you navigate your way around the human heart.

In his seventieth year, the award-winning poet looks back on what was and accepts what is, in a deeply moving and beautiful sequence about what sustains him. Beginning with "My Friends Don't Get Buried," the lament of a delinquent mourner as his friends have begun to die, and ending with the plaintive note to self "don't write elegies/anymore," Edward Hirsch takes us backward through the decades in these memory poems of startling immediacy. He recalls the black dress a lover wore when he couldn't yet know the tragedy of her burning spirit; the radiance of an autumn day in Detroit when his students smoked outside, passionately discussing Shelley; the day he got off late from a railyard shift and missed an antiwar demonstration. There are direct and indirect elegies to lost contemporaries like Mark Strand, William Meredith, and, most especially, his longtime compatriot Philip Levine, whom he honors in several poems about daily work in the late midcentury Midwest. As the poet ages and begins to lose his peripheral vision, the world is "stranger by night," but these elegant, heart-stirring poems shed light on a lifetime that inevitably contains both sorrow and joy.

In Red Mother Laurel Radzieski weaves a love story told from the perspective of a parasite. This series of short poems explores the intimacy we all experience by following the sometimes tender, often distressing relationship that emerges between a parasite and its host. Radzieski's poetry is playful, though often with sinister undertones.

""Before I realized that I was becoming part of a contaminated language and people, I was part of them," writes Derry in her introductory essay, a discussion of racism, ethnic prejudice, and learned hatred. She divides the poems into two sections, the first telling the stories of her German relatives trapped behind the Iron Curtain, often from their point of view. The second section ponders the distinct experiences of German Americans."--BOOK JACKET.

"David Ferry must have had something up his sleeve when he called his book "Strangers," because his is a poetry of intimacy and familiarity. More than that, Mr. Ferry's short, sparse lyrics are as perfectly and simply composed as Japanese haiku—a rare accomplishment in poetry written in English."—Andy Brumer, New York Times Book Review "Strangers is a remarkably good book for a reader sufficiently attentive to hear its quiet power, to let it work in its distinctive way."—Boston Globe "The poems of David Ferry's Strangers are in fact one book, and it is a splendid one. There is the same austere and poignant voice throughout, asking the unanswerable things, speaking of all that is withheld from us, confronting the unknownness that dwells even in the familiar and dear. Painful and touching, the book offers a distinctive vision which is at the same time inescapably true."—Richard Wilbur

"A brilliant poet of two nations, he is a treasure found."-Sandra McPherson A testimony of sexuality in times of violence, this journey into the intimate language of the male body is freighted with danger and desire and expressed through a dark eroticism reminiscent of Garcia Lorca and Cavafy. "Breads That Hunger" Acirc; I make love to a man with a button fetish. Correction: a man makes love to my shirt. He yanks each piece of plastic with his teeth and swallows it, then inserts the cusp of his tongue into the buttonhole. I slip out of the sleeves and off the bed and he scarcely notices. Later, he comes looking for me; my shirt slumped across his shoulder. It looks as if I have shed my skin-the fantasy of meeting the train on the rusty tracks comes to life. Buttonless, I have been stripped of everything that holds me together. He tells me he can replace the shirt. I tell him he can keep me.

Poetry. Asian American Studies. THE VERTICAL INTERROGATION OF STRANGERS blends the narratives of the travelog and the coming of age novel. It is written by a young Indian woman whose travels take her between homes in two countries, India and England, and through parts of the United States. These short pieces reveal new ways of belonging in the world and possibilities for an art grounded in a localized cosmopolitan culture.