An “exquisite . . . spot on” (The Hudson Review) collection of poems from one of our best-loved and best-selling poets that is both personal, with poetry about love, nature and reflections on the stages of life, and political, ranging from the war in Iraq and Katrina to concerns such as women’s rights and the poet’s childhood in Detroit.

In Colors Passing Through Us, Marge Piercy is at the height of her powers, writing about what matters to her most: the lives of women, nature, Jewish ritual, love between men and women, and politics, sexual and otherwise. Feisty and funny as always, she turns a sharp eye on the world around her, bidding an exhausted farewell to the twentieth century and singing an "electronic breakdown blues" for the twenty-first. She memorializes movingly those who, like los desaparecidos and the victims of 9/11, disappear suddenly and without a trace. She writes an elegy for her mother, a woman who struggled with a deadening round o fhousework, washin gon Monday, ironing on Tuesday, and so on, "until stroke broke/her open." She remembers the scraps of lace, the touch of velvet, that were part of her maternal inheritance and fist aroused her sensual curiosity. Here are paeans to the pleasures of the natural world (rosy ripe tomatoes, a mating dance of hawks) as the poet confronts her own mortality in the cycle of seasons and the eternity of the cosmos: "iam hurrying, I am running hard / toward I don't know what, / but I mean to arrive before dark." Other poems--about her grandmother's passage from Russia to the New World, or the interrupting of a Passover seder to watch a comet pass--expand on Piercy's appreciation of Jewish life that won her so much acclaim in The Art of Blessing the Day. Colors Passing Through Us is a moving celebration of the endurance of love an dof the phenomenon of life itself--a book to treasure.

My Mother's Body, Marge Piercy's tenth book of poetry, takes its title from one of her strongest and most moving poems, the climax of a powerful sequence of Poems to her mother. Rooted in an honest, harrowing, but ally ecstatic confrontation of the mother / daughter relationship in all its complexity and intimacy, it is at the same time an affirmation of continuity and identification. "The Chuppah" comprises poems actually used in her wedding ceremony with Ira Wood. This section sings with powerfully female love poetry. There is also a sustained and direct use of her Jewish identity and faith in these poems, as there is in a number of other poems throughout the volume. Readers of Piercy's previous collections will not be surprised to encounter her mixture of the personal and the political, her love of animals and the Cape landscape. There are poems about doing housework, about accidents, about dreaming, about bag ladies, about luggage, about children's fears of nuclear holocaust; about tomcats, insects in the rafters, the influence of a name, appleblossoms and blackberries, pollution, and some of the ways women objectify one another. In "Does the light fail us, or do we fail the light?" Piercy writes with lacerating honesty about our relationships with the elderly and about hers with her father. Some of the most moving poems are domestic, as in the final sequence, "Six underrated pleasures," which finds in daily women's tasks both pleasure and mystery, affirmation of serf and connection with the mother. In all, My Mother's Body is one of Piercy's most powerful and balanced collections.

An inheritance hangs in the balance in a case of stolen identities, imposters, and murder Banished from the idyllic English countryside he once called home and en route to live with his cousin in America, Sir John Farnleigh, black sheep of the wealthy Farnleigh clan, nearly perished in the sinking of the Titanic. Though he survived the catastrophe, his ties with his family did not, and he never returned to England—not even for the funerals of his mother, his father, or, most recently, his older brother Dudley. Now, nearly 25 years since he was first sent away, Sir John has finally returned home to claim his inheritance. But another “Sir John” soon follows, an unexpected man who insists he has absolute proof of his identity and of his claim to the estate. Before the case can be settled, however, one of the two men is murdered, and Dr. Gideon Fell, who happens to be passing through the village, finds himself facing one of the most challenging cases of his career. To solve it, he’ll have to confront a series of bizarre and chilling phenomena, diving deep into the realm of the occult and brushing up against witchcraft, magic, and a sinister automaton to explain a seemingly impossible crime. Selected by a panel of twelve mystery luminaries as one of the ten best locked-room mysteries of all time, The Crooked Hinge is a creepy and atmospheric puzzle inspired by a real life case. It is the ninth installment in the Dr. Gideon Fell series, which may be read in any order.

More than 150 poems from her seven books of poetry written between 1963 and 1982.

Opening with a powerful cycle of elegies for her long-distant, half-brother, this major new collection by one of our bestselling poets then goes on to include both serious and funny poems about women and poems about the precarious balance of nature, ending with the beautiful, life-affirming "The Art of Blessing the Day." 160 pp.

A bountiful group of poems--direct, honest, and revelatory--that reflect on language, nature, old age, young love, Judaism, and our current politics, from one of our most read and admired poets "Words are my business," Marge Piercy begins her twentieth collection of poetry, a glance back at a lifetime of learning, loving, grieving, and fighting for the disenfranchised, and a look forward at what the future holds for herself, her family and friends, and her embattled country. In the opening section, Piercy tells of her childhood in Detroit, with its vacant lots and scrappy children, the bike that gave her wings, her ambition at fourteen to "gobble" down all knowledge, and a too-early marriage ("I put on my first marriage / like a girdle my skinny body / didn't need"). We then leap into the present, her "twilight zone," where she is "learning to be quiet," learning to give praise despite it all. There are funny poems about medicine ads with their dire warnings, and some possible plusses about being dead: "I'll never do another load of laundry . . ." There is "comfort in old bodies / coming together," in a partner's warmth--"You're always warm: warm hands / smooth back sleek as a Burmese cat./ Sunny weather outside and in." Piercy has long been known for her political poems, and here we have her thoughts on illegal immigrants, dying languages, fraught landscapes, abortion, President-speak. She examines her nonbeliever's need for religious holidays and spiritual depth, and the natural world is appreciated throughout. On the Way Out, Turn Off the Light is yet more proof of Piercy's love and mastery of language--it is moving, stimulating, funny, and full of the stuff of life.

"A triumph of the imagination. Rich, complex, impossible to put down."—Alice Hoffman In the middle of the twenty-first century, life as we know it has changed for all time. Shira Shipman's marriage has broken up, and her young son has been taken from her by the corporation that runs her zone, so she has returned to Tikva, the Jewish free town where she grew up. There, she is welcomed by Malkah, the brilliant grandmother who raised her, and meets an extraordinary man who is not a man at all, but a unique cyborg implanted with intelligence, emotions—and the ability to kill. . . . From the imagination of Marge Piercy comes yet another stunning novel of morality and courage, a bold adventure of women, men, and the world of tomorrow.

Reese and David are not normal teens-not since they were adapted with alien DNA by the Imria, an extraterrestrial race that has been secretly visiting Earth for decades. Now everyone is trying to get to them: the government, the Imria, and a mysterious corporation that would do anything for the upper hand against the aliens. Beyond the web of conspiracies, Reese can't reconcile her love for David with her feelings for her ex-girlfriend, Amber, an Imrian. But Reese's choice between two worlds will play a critical role in determining the future of humanity, the Imria's place in it, and the inheritance she and David will bring to the universe. In this gripping sequel to Adaptation, Malinda Lo brings a thoughtful exploration of adolescence, sexuality, and "the other" to a science-fiction thriller that is impossible to put down.

Part ghost story, part murder mystery - a creepy and magical tale steeped in Norse myth, perfect for fans of Neil Gaiman. Welcome to the Circus of Myth & Mayhem - where performers re-enact tales of the Norse gods wearing masks which mysteriously change expression, the creepy jester isn't quite human, and the big top is full of the dead. Martha arrives at the circus, deep in the forests of Northern Norway, determined to learn how Nina died. Did she fall from the trapeze as Stig said, or was there more to her 'accident?' Drawn into a dangerous game of the gods, Martha must look behind the mask and see the truth . . . before it's too late. Following the events of THE TWISTED TREE, THE CROOKED MASK continues the story of Martha and Stig as she comes to terms with her magical inheritance. Praise for The Twisted Tree A creepy and evocative fantasy likely to make readers wary of the shadows in the corner of an eye, The Sunday Times Rattles along with proper page-turning pace, The Daily Express Creepy and amazing, MTV UK Creates an atmosphere of Stephen King intensity, The Irish Examiner A terrific read - twisty and scary and instantly gripping, Waterstones (Exeter Roman Gate) A ghost story that will get under the skin of the most hardened reader, Starburst Magazine The perfect book for cold and wintry nights, prepare to be chilled to your very bones, Culturefly