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Freefalling from a scandal of her own making, reporter Frances Treadwell only thinks she has hit bottom when she finds herself alone and out of work in her ancestral farmhouse in Maine. Soon after she arrives, a meteorite crashes to earth in the woods behind her house, igniting a firestorm of malicious chatter among locals who suspect Frances is somehow connected to a larger, more sinister phenomenon. Caught between a petty criminal she can't resist and a pair of unlikely suitors, Frances watches in horror as the events turn from near farce to life-shattering, irreversible tragedy. Sweetly sexy, miserably funny, and a little scary, View From a Burning Bridge is an enthralling debut novel from a natural heir to Flannery O'Connor and Shirley Jackson.

Through a collection of beautifully moving and honest poetry, More Daring Escapes expresses life in America and the stories of hard workers and dreamers alike. From tales of hope and homecoming to accounts of perseverance and fortitude, More Daring Escapes captures the essence of what drives us all.

In Otherwise Obedient, Carol Potter weaves together beautifully striking language and a distinct sense of humor to tell her series of captivating poems about human experience. From an Elvis impersonator to what she refers to as "The Blended Family," Potter shifts perspective in a way that is both witty and insightful.

With The Highwayman's Wife, Lynnell Edwards's fierce and brazen poems breathe new life into well-known myths and tales, giving a new, bold voice to characters such as Medusa and Helen of Troy. Equal parts graceful and audacious, Edwards's poems capture her genuine love of language while maintaining a charming style all their own.

The poems in Future Ship are largely autobiographical in the sense that they are based on personal experiences from childhood and adolescence when the personality is still in a molten form and being shaped by events and experiences that leave a lasting mark on the adult sensibility. The term "autobiographical" is slightly misleading, as any poet knows personal material exists to be molded and transformed according to the needs of the poem. So imagination is the midwife of the past, and whatever actually happened is colored by time, memory, and the exigencies of art. In order to access material which is essentially narrative in nature, and produce poetry rather than short fiction, it was necessary to adopt a form that allowed for flexibility both spacious enough to allow the narrative to develop, yet controlled enough to create some tension in the lines. So the form of alternating long lines with short lines was adopted to answer this requirement. The short lines are lines themselves, and not indented phrases clipped off the ends of the longer lines in order to fit into the marginal format of the page. After allowing the narrative to stretch out in the longer lines, the short lines are meant to act as pivots, or fulcrums, that propel the reader on to the each next long line. They are also meant to supply pauses, breathing spaces, in the extended narrative carried by the longer lines. Other poems in Future Ship are more traditional in lineation, but all the poems, in one way or another, are meant to serve the main theme of how the past informs the present, which then points directly toward the future the trope being a ship that arrives finally to voyage away containing all the accumulated facts, events, and characters that have marked a life. So the self is imagined as a kind of ark, bearing a lifetime's experiences into the future. One hopes, of course, that the closer one gets to personal experience if it is real and honestly felt the more it will become universal and represent, in some way, the experience of others.

In Island, Jeanette Clough invites readers to explore several beautiful and illustrious lands—from Los Angeles to Southeast Asia—while inspiring wonder and emotion through her rich use of language. Her poems capture not only the splendor of natural landscapes, but the passions and desires that run through us all.

Stealing tropes from militancy to minstrelsy, Fear,some broadcasts from the slippery moments when personal, national, racial and aesthetic anxieties overlap. These poems seek to pressurize content ("At the Pink Teacup"), language ("Atomic Buckdance") and form (the Blaxploitation epic-remix, "(dig) Bloom is Boom, Sucka!") until they evoke suspicion, tension, fear and the laughter that rattles after the horrifyingly ridiculous.

"Ryan Van Cleave¿s explosive riffs roll over the American pop culture landscape like a caffeined-up emcee from the dark side. Trying to keep up with his quick wit and dizzying leaps may leave you out of breath, but gasping with surprise and wonder, marveling at how¿beneath the glitz¿Van Cleave has found the sick, twisted soul of this country."¿Jim Daniels, author of Show and Tell

This stunning first collection of funny, strange, aphoristic , indissoluble poems reveals Larry Bridges to be as talented a poet as he is a filmmaker. Full of verve and revelation, these poems are a storehouse of sadness and awakened consciousness.

In May of 2004, a wildfire swept through the Temecula Valley in Southern California, destroying in its path Dorland Mountain Colony, the place where the poems in Ordinary Wisdom were written. Dorland was unique among artists¿ retreats in an electronic age in that there was no electricity or phones in the cabins. Adjusting to the rhythms of light and darkness was the first task in settling in to work. It was the perfect setting for a project that meant to deal with daily life¿its most ordinary manifestations and its most significant messages.

In Oh, Don't Ask Why, Dennis Must's dark humor and use of jarringly raw language confront a number of anxieties and complexities with which his characters grapple. From overwhelming sorrow to suicidal reflection, this compilation of stories reaches deep into the internal and touches readers to the core.

"We've tamed too much of our world, too much of our mind, too much of our soul. Doug Thorpe helps us understand what Thoreau really meant when he said that in wildness is the preservation of the world."-Bill McKibben, author of The End of Nature"Doug Thorpe has thought deeply-as he has trekked deeply-into the terra incognita where lies the intersection of the phenomenal and the supposed pre-phenomenal, understanding that language itself is the surest tool whereby the pilgrim might discover those traces joining what is visible and what is not, a disposition more likely than most for apprehending revelation." -Scott Cairns, author of Short Trip to the Edge; Where Earth Meets Heaven-A Pilgrimage"Throughout Rapture of the Deep Doug Thorpe pursues, and is pursued by, one question: 'What will we do with the wild truth?' [...] Thorpe's quest-narrative is further enhanced by the authentic and insightful way in which he interweaves the writers he loves, including Dante and Wordsworth, Jung, Pullman and LeGuin. I feel personally grateful as a reader, writer, teacher and householder for this illuminating book."-John Elder

In this poignant collection of poems, Richard Beban conveys the world around him in a brilliantly real and lyrically beautiful light. He writes of different perspectives and relationships, doing so with humor and warmth, leaving a memorable impression long after the final page has been turned."

Death of a Circus tells the story of the Bringlebright Circus, a small fictional troupe traveling the United States in the early twentieth century, an era when circuses are falling out of favor and only the largest shows are enduring. Initially, the book follows Lor Cole, a young African American man from Connecticut who dreams of leaving behind his provincial past and making a name for himself as a high wire walker. Upon joining Bringlebright, however, Lor quickly learns that the characters who join him under the Big Top have their own stories to tell.Closest to Lor is Cirella Flannery, a beautiful and startlingly devious fire-eater who has struggled for survival since her spirited days in a juvenile detention facility. Ranju, Bringlebright's reclusive chief animal trainer, hides a history of magic and trickery that may be his undoing. Stalwart, Ranju's young protege, finds solace in his journal even as he grapples with a mysterious connection to Lor. Presiding over the show is Mr. Barnacle, the Ringmaster, a charlatan who constantly concocts new stratagems to keep Bringlebright afloat. Together, these performers create a colorful ensemble that illuminates the twin sides of the show: one rapturously razzle-dazzle, the other rough-and-tumble.Death of a Circus is a novel of multiple narrative lines. It captures the rapid pacing of an adventure story, but it is ultimately much more. Chock full of circus allusions, Big Top lingo, folklore and historical detail, it is a far-reaching fairy tale that speaks to the foibles of the human heart and what happens when life is lived both within and outside the center ring spotlight.

The Proving Grounds unfolds a narrative not of strict chronology, but rather the way each poem functions as a moment that gathers the thematic clusters of the struggle for identity in a consumer culture that has no sense of intrinsic value and that struggle's manifestation in the world of athletic performance and the way these general trends interact with individual experience. The poems trace the female body as a primal proving ground where the distance between history and experience form a paradox: the idea that the female body is limited and weak is particularly strange for a narrator who grew up in the generation post-Title IX, when girls were assumed to have the same competencies as men, and who has been called upon to physically shield her mother from her father from the time she was seven. Similarly strange but compelling is the paradox of the deep love for and identification with her father that arises from this first proving ground to shape the rest of her life.

This debut collection of forty-five poems explores a range of subjects, including the 1998 dragging death of James Byrd, Jr., former Yugoslav president Slobodan Milosevic, September 11, the war in Iraq, and the Abu Ghraib prison scandal. The collection also contains poems about the 2001 massacre of Nepal's royal family, people living with AIDS, the Confederate Flag issue in South Carolina, and the influence of Gwendolyn Brooks and James Baldwin.

Charles Harper Webb's eccentric and distinct writing style makes this collection of poetry a funny and charmingly memorable read. A melting pot of pop culture, historical references, and everyday life, Webb's poems are refreshingly candid and straightforward.

"A few years ago, I wrote a poem that I titled "Paradelle for Susan." It was the only paradelle ever to have been written because I invented the form in order to write the poem. What I set out to do was write an intentionally bad formal poem. Auden said there was nothing funnier than bad poetry, and I thought a horribly mangled attempt at a formal poem might have humorous results. I considered using an already existing form, but I figured enough bad sonnets and bad sestinas are already being written these days without me adding to the pile. . . . The paradelle invites you in with its offer of nursery-rhyme repetition, then suddenly confronts you with an extreme verbal challenge. It lurches from the comfort of repetition to the crossword-puzzle anxiety of fitting a specific vocabulary into a tightly bounded space. While the level of difficulty in most verse forms remains fairly consistent throughout, the paradelle accelerates from kindergarten to college and back to kindergarten several times and ends in a think-tank called the Institute for Advanced Word Play. Thus the jumpy double nature of the paradelle, so unsteady, so schizo, so right for our times. . . ." Billy Collins, from the Introduction

"With these poems¿sparsely worded, richly lived¿Geri Digiorno reminds us again just how entangled the delicate roots and tendrils of family and ¿individual¿ identity can become. Her lovingly subjective subjects include family, neighborhood, coming of age, friendship, betrayal, initiation, baptism, masquerade, transformation, sexual discovery and conquest. Sketching poetically, Digiornöat heart a realist unafraid to risk sentimentality¿relives a working-class life begun in San Franciscös Noe Valley. In clipped, lower-case memoir-vernacular, she tells all, serving up clues to the meaning of life worldwide." ¿Al Young "The poems in Geri Digiornös White Lipstick explode with passion and power. Unforgettable and moving, these poems, rooted in pop culture, are ones you will return to again and again. In fearless poems about survival, Digiorno tells the story of an extraordinary woman¿s life and tells it with humor and grace." ¿Maria Mazziotti Gillan "These direct and open-hearted poems speak with humor and insight of one woman¿s life in the American West. Geri Digiornös clear voice draws us directly into the center of her world." ¿Diane Di Prima

These are brave and intimate poems etched with breathtaking constraint in a calibrated free-fall through the separate terrains of explicit meaning, metaphor and photography with impeccable timing. description by Trisha Brown

The poems in The Last Mojito were written between 2000 and 2004. The six distinct sections of the book?the ingredients of the infamous mojito (mint, sugar, lime, rum, ice, and club soda)?were chosen, initially, to impart a rather playful frame to the collection?s content. Quite a few of the poems, of course, reveal the presence of alcohol. In almost all cases, more often than not, the mere mention of spirits or booze is employed as a continual theme, helping to open up friendships or any relationships in a way that bring the narrators closer towards a supposed set of insights gained from a glass that?s no longer filled with what might pass for liquid truth. Individual poems such as ?"Enough,"? "?Pub Crawl,"? "?Forbidden City,"? "?Story of His Life,"? and "?I Killed the Poet,"? explore both probable and improbable situations the speakers face on the road to self-discovery.