Teen Instagram sensation and author of Light Filters In @poeticpoison returns with a second collection of short, powerful poems about love, forgiveness, self-discovery, and what it’s like living after a hard-fought battle with depression, in the vein of poetry collections like Milk and Honey and the princess saves herself in this one. In her second book of poetry, Instagram sensation Caroline Kaufman—known as @poeticpoison—explores the shock, wonder, and beauty of an uncertain future. When the World Didn’t End is a vivid account of trying to find a path forward while reckoning with the pain of the past, embracing imperfection, and unlearning the language of self-criticism. It’s an ode to the awkward silence between goodbye and hanging up, to hearts that continue to beat after they’re broken, to the empty spaces that depression leaves behind. With vulnerability and insight, this powerful collection of short poems holds up a mirror to the doubt and longing inside us all. This collection features completely new material plus some fan favorites from Caroline’s account. Filled with haunting, spare pieces of original art, When the World Didn’t End will thrill existing fans and newcomers alike. so, what now? how will you make the most of it? how will you live the life you never thought you’d get the chance to see?

In the vein of poetry collections like Milk and Honey and Adultolescence, this compilation of short, powerful poems from teen Instagram sensation @poeticpoison perfectly captures the human experience. In Light Filters In, Caroline Kaufman—known as @poeticpoison—does what she does best: reflects our own experiences back at us and makes us feel less alone, one exquisite and insightful piece at a time. She writes about giving up too much of yourself to someone else, not fitting in, endlessly Googling “how to be happy,” and ultimately figuring out who you are. This collection features completely new material plus some fan favorites from Caroline's account. Filled with haunting, spare pieces of original art, Light Filters In will thrill existing fans and newcomers alike. it’s okay if some things are always out of reach. if you could carry all the stars in the palm of your hand, they wouldn’t be half as breathtaking

If you are underwhelmed by me, please just let me go... Poems for the End of the World is a coming of age collection and exploration of the confusing and disillusioning trek through young adulthood in a broken world. Divided into four chapters—waking up, growing pains, crushing realities, and disappointing beginnings—this collection covers everything from self-discovery and heartbreak to chronic illness and fresh starts.

Winner of the 2008 Katharine Bakeless Nason Prize for Poetry, Nick Lantz's poems introduce a startling new voice. Taking its title from a dodging statement from former secretary of defense Donald Rumsfeld, We Don't Know We Don't Know assesses what it means to claim new knowledge within a culture that professes to know everything already. The result is a poetry that upends the deeply and dangerously assumed concepts of such a culture—that new knowledge is always better knowledge, that history is a steady progress, that humans are in control of the natural order. Nick Lantz's poems hurtle through time from ancient theories of physics to the CIA training manual for the practice of torture, from the history of the question mark to the would-be masterpieces left incomplete by the deaths of Leonardo da Vinci, Nikolai Gogol, Bruce Lee, and Jimi Hendrix. Selected by Linda Gregerson for the esteemed Bakeless Prize for Poetry, We Don't Know We Don't

Learning about the ancient Jewish tradition of midrash, a rabbinic form of textual interpretation that seeks and imagines answers to unanswerable questions, felt to Amy Bornman like a poetic invitation to re-engage with the Bible in a new way. There is a Future: A Year of Daily Midrash – an award-winner in the Paraclete Poetry Prize competition – grew from a yearlong project to read the Bible daily, and write daily midrashic poems in response to the readings—to honor the text by wondering about, and struggling with, it. By engaging particular passages of scripture across the Old and New Testaments directly, these poems imagine new dimensions of the text, and make vivid connections to the world as it is now and to the author’s own life—emerging at year’s end with new hope in a future that at times feels impossible, as the days pile on days and the text’s enduring questions continue to ring.

Titled from lyrics of the song “Nobody Home” by Pink Floyd, this well-thought poetry collection touches on the subjects of loss, love, pain, happiness, depression, abandonment, war, good vs. evil, alcoholism, religion, and complicated family relationships. Written mostly in metered, rhyming stanzas, Black Book of Poems provides a non-threatening platform for reflection and meditation on life’s most difficult challenges. This collection offers a refreshingly honest approach to life and love that feels realistic and relatable to everyone.

World Without End, Claude Wilkinson's fourth poetry collection, takes its title from the last words of the Gloria Patri. But the preceding words--"as it was in the beginning, is now and ever shall be"-- also echo the book's overarching theme: the seemingly infinite spiritual implications woven throughout our experience in the natural world. The poems are organized into meditations on family and community, spiritual worldviews, art and its insights, and nature's endless source of ever-relevant metaphor. The poems also speak to each other across these sections--and even with poems in Wilkinson's earlier collections. World Without End opens with "Among Other Things, My Father Teaches Me How to Mow Grass," exploring the relationship of father and son, something that is revisited later on in "Salvia." Both poems long for conciliation between father and son through yard work--restoring order in the garden, a lost Eden. Wilkinson's gift for ekphrastic poetry remains strong in World Without End, though here it is more referential and allusive. Rather than engaging specific works of art, the poet strives to understand the broader aesthetic visions of figures like Theodore Dreiser, Vincent Van Gogh, and Walter Anderson. In the title poem, a reference to Edward Hicks's The Peaceable Kingdom suggests art's ephemeral yet sustaining power--and an irrepressible yearning for a return to paradise.

"David Orr is no starry-eyed cheerleader for contemporary poetry; Orr’s a critic, and a good one. . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom Perrotta Award-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.

A “raw and honest” (Los Angeles Review of Books) memoir from the first Native American Poet Laureate of the United States. In this transcendent memoir, grounded in tribal myth and ancestry, music and poetry, Joy Harjo details her journey to becoming a poet. Born in Oklahoma, the end place of the Trail of Tears, Harjo grew up learning to dodge an abusive stepfather by finding shelter in her imagination, a deep spiritual life, and connection with the natural world. Narrating the complexities of betrayal and love, Crazy Brave is a haunting, visionary memoir about family and the breaking apart necessary in finding a voice.

Edited and Translated from the Greek by Edmund Keeley. A new translation of poetic masterpieces spanning Greece's Archaic and Golden Age to Byzantium. In these beautiful renderings Edmund Keeley displays his sensitivity as a translator and his imagination as a poet. The verses spring to life for a new generation of readers who will delight in the inventiveness, wit, and honesty of essential ancient Greek voices such as Plato, Leonidas, Callimachus, Meleager, Honestus, Strato, and Palladas. One of the foremost translators of the 20th century, Edmund Keeley has received international acclaim for his translations of the Greek poets C.P. Cavafy, George Seferis, Yannis Ritsos, and Odysseas Elytis. "The Ancients did not mince words when it came to love and death. Edmund Keeley's stunning translation brings Ancient Greek pith and urgency into the 21st Century: playful and oracular, Nakedness is My End is an essential study of human life in lyric form."--Karen Emmerich "The Ancients did not mince words when it came to love and death. Edmund Keeley's stunning translation brings Ancient Greek pith and urgency into the 21st Century: playful and oracular, Nakedness is My End is an essential study of human life in lyric form."--Karen Emmerich "In Keeley's lucid translations, we find just what we need: grace, humor, beauty, good advice, and succor; all that poetry has been bringing us through the darkness for these thousands of years. This expertly selected collection will remind you to 'treat yourself entirely to what good things there are.'"--Eleni Sikelianos "A new English translation of ancient masterworks, Nakedness is My End (World Poetry Books) contains poetry from Plato, Strato, Palladas, and others in a way that is accessible and meaningful for the modern reader." -- Princeton Alumni Weekly Poetry.