For most of her life Emily Dickinson regularly embedded poems, disguised as prose, in her lively and thoughtful letters. Although many critics have commented on the poetic quality of Dickinson's letters, William Shurr is the first to draw fully developed poems from them. In this remarkable volume, he presents nearly 500 new poems that he and his associates excavated from her correspondence, thereby expanding the canon of Dickinson's known poems by almost one-third and making a remarkable addition to the study of American literature. Here are new riddles and epigrams, as well as longer lyrics that have never been seen as poems before. While Shurr has reformatted passages from the letters as poetry, a practice Dickinson herself occasionally followed, no words, punctuation, or spellings have been changed. Shurr points out that these new verses have much in common with Dickinson's well-known poems: they have her typical punctuation (especially the characteristic dashes and capitalizations); they use her preferred hymn or ballad meters; and they continue her search for new and unusual rhymes. Most of all, these poems continue Dickinson's remarkable experiments in extending the boundaries of poetry and human sensibility.

Intergalactic Travels: poems from a fugitive alien is a poetry memoir that takes up the intersections of Indigeneity, Blackness, queerness and migration as it relates to U.S. federal immigration law. The book pushes the boundaries of an "undocumented immigrant narrative"via the poet's refusal to belong to United Statian society and the refusal of a structured poetics.In fact, the chaotic geographies of the manuscript (collages + photographs + emails + negative space) formulate theories of fugitivity that position the transAtlantic slave trade and Indigenous dispossession as root causes of undocumented immigration. In this refusal of national belonging and form, the book asks for a critical kinship that the law can never account for, and thus, Pelaez Lopez negotiates legal status for new imaginaries of care. As a whole, the manuscript asks: "what does it mean that a descendant of enslaved Africans becomes an illegal alien in the same continent that subjugated their ancestors to chattel slavery?" Furthermore, "can an Indigenous subject of this continent be considered 'illegal' in the continent of their ancestors?"

DigiCat Publishing presents to you this special edition of "Fugitive Pieces" by George Gordon Byron Baron Byron. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Hennie Comfort is eighty-six and has lived in the mountains of Middle Swan, Colorado since before it was Colorado. Nit Spindle is just seventeen and newly married. She and her husband have just moved to the high country in search of work. It's 1936 and the depression has ravaged the country and Nit and her husband have suffered greatly. Hennie notices the young woman loitering near the old sign outside of her house that promises "Prayers For Sale". Hennie doesn't sell prayers, never has, but there's something about the young woman that she's drawn to. The harsh conditions of life that each have endured create an instant bond and an unlikely friendship is formed, one in which the deepest of hardships are shared and the darkest of secrets are confessed. Sandra Dallas has created an unforgettable tale of a friendship between two women, one with surprising twists and turns, and one that is ultimately a revelation of the finest parts of the human spirit.

I Am a Fugitive from a Georgia Chain Gang! is the amazing true story of one man's search for meaning, fall from grace, and eventual victory over injustice. In 1921, Robert E. Burns was a shell-shocked and penniless veteran who found himself at the mercy of Georgia's barbaric penal system when he fell in with a gang of petty thieves. Sentenced to six to ten years' hard labor for his part in a robbery that netted less than $6.00, Burns was shackled to a county chain gang. After four months of backbreaking work, he made a daring escape, dodging shotgun blasts, racing through swamps, and eluding bloodhounds on his way north. For seven years Burns lived as a free man. He married and became a prosperous Chicago businessman and publisher. When he fell in love with another woman, however, his jealous wife turned him in to the police, who arrested him as a fugitive from justice. Although he was promised lenient treatment and a quick pardon, he was back on a chain gang within a month. Undaunted, Burns did the impossible and escaped a second time, this time to New Jersey. He was still a hunted man living in hiding when this book was first published in 1932. The book and its movie version, nominated for a Best Picture Oscar in 1933, shocked the world by exposing Georgia's brutal treatment of prisoners. I Am a Fugitive from a Georgia Chain Gang! is a daring and heartbreaking book, an odyssey of misfortune, love, betrayal, adventure, and, above all, the unshakable courage and inner strength of the fugitive himself.

American women have created an especially vigorous and innovative poetry, beginning in 1632 when Anne Bradstreet set aside her needle and picked up her "poet's pen." The topics of American women poets have been various, their images their own, and their modes of expression original. Emily Stipes Watts does not imply that the work of American men and that of American women are two different kinds of poetry, although they have been treated as such in the past. It is her aim, rather, to delineate and define the poetic tradition of women as crucial to the understanding of American poetry as a whole. By 1850, American women of all colors, religions, and social classes were writing and publishing poetry. Within the critical category of "female poetry," developed from 1800 to 1850, these women experimented boldly and prepared the way for the achievement of such women as Emily Dickinson in the second half of the nineteenth century. Indeed at times—for example from 1860 through 1910—it was women who were at the outer edge of prosodic experimentation and innovation in American poetry. Moving chronologically, Professor Watts broadly characterizes the state of American poetry for each period, citing the dominant male poets; she then focuses on women contemporaries, singling out and analyzing their best work. This volume not only brings to light several important women poets but also represents the discovery of a tradition of women writers. This is a unique and invaluable contribution to the history of American literature.