Victor Enns is a poet who engages and beguiles by giving us the simple complexities of childhood on the prairies. Boy is richly evocative of time and place: small town Manitoba in the 60's. Enns gives the reader both archetypal and singular experiences which encompass the fluster and cruelty of childhood encounters, the sometimes bitter nature of faith and the fever of new temptations, and understandings. In part an insightful family story Enns reveals the half-secret places where a child makes room for his true life, a life he sees walking towards him from a great distance. Here is poetry both measured and exhilarating, both lyrical and touched by Enns's own brand of dark wit. Encountering the breathtaking and heartbreaking poems of child abuse toward the end of the collection we gain a new appreciation for both the poet and his fearless poems.

It's Probably Nothing continues the tale woven by Dr. Beach Conger in his first book, Bag Balm and Duct Tape. This new collection sees Conger and his wife yearning for new challenges and relocating to the suburbs of Philadelphia after 25 years in mythical Dumster, Vermont. Conger gamely takes a job in a teaching hospital in the poorest part of the city and gets to experience urban bureaucratized medicine and its trials- a far cry from the more idiosyncratic and hands-on version he practiced in Vermont. After 5 years Conger and his wife move back to Dumster, where he rediscovers more about his patients' capacity to both cope and cherish one another than he expected. Each of the tightly constructed chapters is centered around a particular patient or particular theme in medicine. It's Probably Nothing is both funny and poignant, and showcases both Conger's irreverent view into medicine and his profound empathy for the characters he encounters along the way. His experience highlights how medicine-and problems with out current medical system-can remain the same and yet be vastly different across class, race, and region. Among the people the reader meets are urban drag queens, small-town farmers and other heroes, Vermont celebrities, and the occasional reclusive author.

This is an art book which highlights the possibility of using natural, organic materials as art supplies and inspiration.

Become a more attentive observer and deepen your appreciation for the natural world. The unique five-year calendar format of The Naturalist’s Notebook helps you create a long-term record and point of comparison for memorable events, such as the first songbird you hear in spring, your first monarch butterfly sighting of summer, or the appearance of the northern lights. Biologist Nathaniel T. Wheelwright and best-selling author Bernd Heinrich teach nature lovers of all ages what to look for outdoors no matter where you live, using Heinrich’s classic illustrations as inspiration. As you jot down one observation a day, year after year, your collected field notes will serve as a valuable record of your piece of the planet. This deluxe book, with a three-piece case, gilt edges, a burgundy ribbon bookmark, and a belly band with gold foil stamping, is a perfect gift for all nature lovers.

A collection of 100 witty and visually striking one-liners for our changing times. The Neurotic Notebook playfully explores the relationship between the meaning of words and their visual forms. While each page stands on its own, read together they form the confessions of a college-ruled notebook, lost in the digital age. Engaging, witty, and lighthearted, The Neurotic Notebook reports its journey from self-doubt to self-affirmation. A surprising mix of graphic design, humor, and self-help, The Neurotic Notebook will appeal to lovers of riddles and creative design.

Modernist debates about waste - both aesthetic and economic - often express biases against gender and sexual errancy. The Poetics of Waste looks at writers and artists who resist this ideology and respond by developing an excessive poetics.

Every so often a love story captures our hearts and becomes more than just a story - it becomes an experience to treasure and to share. The Notebook is such a book. It is a celebration of a passion both ageless and timeless, a tale of laughter and tears, and makes us believe in true love all over again. At thirty-one, Noah Calhoun is rebuilding his life on the coast after the horrors of World War II, but he is haunted by images of the girl he lost more than a decade earlier. Allie Nelson is about to marry into wealth and security, but she cannot stop thinking about the boy who stole her heart years ago. And so begins an extraordinary tale of a love so strong it turns tragedy into strength and endures everything . . . 2014 marks the 10th anniversary of the film adaptation of The Notebook starring Ryan Gosling and Rachel McAdams. This new edition includes gorgeous colour photographs from the film, author Q & A, discussion questions and an exclusive chapter from The Longest Ride, the new Nicholas Sparks novel.

"Poetry was declining/ Painting advancing/ we were complaining/ it was '50," recalled poet Frank O'Hara in 1957. Criminal Ingenuity traces a series of linked moments in the history of this transfer of cultural power from the sphere of the word to that of the image. Ellen Levy explores the New York literary and art worlds in the years that bracket O'Hara's lament through close readings of the works and careers of poets Marianne Moore and John Ashbery and assemblage artist Joseph Cornell. In the course of these readings, Levy discusses such topics as the American debates around surrealism, the function of the "token woman" in artistic canons, and the role of the New York City Ballet in the development of mid-century modernism, and situates her central figures in relation to such colleagues and contemporaries as O'Hara, T. S. Eliot, Clement Greenberg, Walter Benjamin, and Lincoln Kirstein. Moore, Cornell, and Ashbery are connected by acquaintance and affinity-and above all, by the possession of what Moore calls "criminal ingenuity," a talent for situating themselves on the fault lines that fissure the realms of art, sexuality, and politics. As we consider their lives and works, Levy shows, the seemingly specialized question of the source and meaning of the struggle for power between art forms inexorably opens out to broader questions about social and artistic institutions and forces: the academy and the museum, professionalism and the market, and that institution of institutions, marriage.

In his debut collection, Some Trees (1956), the American poet John Ashbery poses a question that resonates across his oeuvre and much of modern art: 'How could he explain to them his prayer / that nature, not art, might usurp the canvas?' When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists—from the Dadaists to the 1960s neo-avant-gardists and beyond—who have dreamed of turning art into nature, of creating art that would be 'valid solely on its own terms, in the way nature itself is valid, in the way a landscape—not its picture—is aesthetically valid' (Clement Greenberg, 1939). Invisible Terrain reads Ashbery as a bold intermediary between avant-garde anti-mimeticism and the long western nature poetic tradition. In chronicling Ashbery's articulation of 'a completely new kind of realism' and his engagement with figures ranging from Wordsworth to Warhol, the book presents a broader case study of nature's dramatic transformation into a resolutely unnatural aesthetic resource in 20th-century art and literature. The story begins in the late 1940s with the Abstract Expressionist valorization of process, surface, and immediacy—summed up by Jackson Pollock's famous quip, 'I am Nature'—that so influenced the early New York School poets. It ends with 'Breezeway,' a poem about Hurricane Sandy. Along the way, the project documents Ashbery's strategies for literalizing the 'stream of consciousness' metaphor, his negotiation of pastoral and politics during the Vietnam War, and his investment in 'bad' nature poetry.

"This is the first major theoretical study of the four main figures of the New York School: John Ashbery, Frank O'Hara, Kenneth Koch, and James Schuyler. Proposing a reinterpretation of the definition of the avant-garde, William Watkin describes it as a movement typified by its commitment to art in process, over the final art product. In a series of in-depth, and wide-reaching, readings, he then goes on to test this assertion in detailed relation to the poetry of the New York School, while also examining how the poets' own work further develops and analyses the concept of the avant-garde in contemporary culture."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved