In Huang Po and the Dimensions of Love, poet Wally Swist blends themes of love and epiphany to lead readers into a more conscious interaction with the world around them. These ethereal poems call upon a spirituality unfettered to any specific religion, yet universal and potent in its scope, offering a window through which life can be not only viewed but also truly experienced. This luminescent collection illustrates the joys to be found in the everyday world and the power of existence. Unveiled here are the twin edges of love and madness; the quiet mysteries and revelations of a New England night or the glittering spark of snowdrops; the sharp scents of sugar maple and cinnamon; and the rustle of a junco’s wings. From the restoration and peace of silence or the rush of a brook, to spiraling hawks and Botticelli’s “The Annunciation,” Swist’s poems linger somewhere between the earthbound and the sublime.

What the world needs now – featuring poems from inaugural poet Amanda Gorman, Ross Gay, Tracy K. Smith and more. More and more people are turning to poetry as an antidote to divisiveness, negativity, anxiety, and the frenetic pace of life. How to Love the World: Poems of Gratitude and Hope offers readers uplifting, deeply felt, and relatable poems by well-known poets from all walks of life and all parts of the US, including inaugural poet Amanda Gorman, Joy Harjo, Naomi Shihab Nye, Ross Gay, Tracy K. Smith, and others. The work of these poets captures the beauty, pleasure, and connection readers hunger for. How to Love the World, which contains new works by Ted Kooser, Mark Nepo, and Jane Hirshfield, invites readers to use poetry as part of their daily gratitude practice to uncover the simple gifts of abundance and joy to be found everywhere. With pauses for stillness and invitations for writing and reflection throughout, as well as reading group questions and topics for discussion in the back, this book can be used to facilitate discussion in a classroom or in any group setting.

In From the Fire Hills, poet Chad Davidson shows us an Italy that is far from the romanticized notions of sun-drenched fields and self-discovery. Instead we see a maelstrom of chaos and contradiction, a place where the frenetic pace of modernity is locked in a daily struggle with recalcitrant history. This autobiographical collection explores the myriad ways in which Italian culture survives its own parodies and evokes a modern ferocity that harkens back to Italy’s barbarian past. As the narrator, rendered vulnerable by language, embarks on his journey, lines of location, time, and perception blur. From the siren song of Dante’s grave to the heights of San Luca, from streets where policemen with Uzis tread a hair’s breadth away from the macabre remains of Capuchin monks, Davidson’s Italy is a study in contrast between the contemporary and the classical, the sacred and the profane. Within these poems sensual and savage revelations unfold, exposing new, uncanny, and often uncomfortable spaces to explore in this well-traveled realm of Western imagination. Throughout the volume loom “the fire hills”: the scorched mountains of Sicily in summer; the memories of Italians living near the Gothic Line outside Bologna, where the Germans dug in and received heavy bombing at the close of World War II; even the wildfires igniting the San Gabriel foothills in southern California; all the way back to the burning city of Carthage in Virgil’s Aeneid. As the ash settles and the smoke clears, we realize that what we remember is often just remains, shells, and burned out wreckage, as if there were another type of memory.

These poems remind us that “home” is a way of being in this world. It finds expression in the inner light that carries us through dark seasons and in what inspires us to risk life in the face of death. Many of these poems come from a long looking at the familiar and the ordinary, a patient listening for traces of a beauty that might still save us. They ponder the resilience that lies at the heart of the natural world, as well as in our desire to thrive amid the distractions that pressure us in our lives. In an over-saturated age like ours, they invite us to linger at the edges of silence, and wonder what it means that we are not made for reason alone, but “for what song can bring of solace and delight.” “Call these meditative poems Burrows’ ‘Yes’ to the given world, his ongoing record of those instances of connectedness when we are at ‘home’ in what Pessoa called ‘the astonishing reality of things...’” —Robert Cording, poet and author of Walking with Ruskin and Only So Far “Mark S. Burrows’ poems offer the reader both invitation and gift - when you say yes, the treasures lay themselves out like a banquet for the heart.” —Christine Valters Paintner, Online Abbess of Abbey of the Arts and author of The Wisdom of the Body: A Contemplative Journey to Wholeness for Women

Winding Paths Worn Through Grass offers a meditative experience but also invites the reader to step off the page and walk a summer meadow or stand beside a running mountain brook in winter. This is graceful, elegant poetry, controlled, engaging, marked by lyric simplicity, filled with wisdom and gentleness of vision. Swist pays homage to his roots in Eastern spirituality by his tribute to the Katha Upanishad in the book's initial poem, and he includes a sequence of free-verse tanka written after attending a performance of the Japanese percussion ensemble Kodo. Often honoring European poets such as Attila Jozsef or Giuseppe Ungaretti, or American poets such as Bert Meyers and Robert Francis, these lyric poems focus on the evocation of precise images rooted in the natural world, through which the reader, stopping to listen here, now, may be transported by something as simple and concrete as the wind snapping a branch of white pine into a realm of spiritual transcendence, "going further, further."

Acclaimed poet Wally Swist remarks on events of everyday living in this brilliant collection. "The Female Cardinal," "Ray's Sandwich Shop," "Ode to My New Shoes," and, of course, "Candling the Eggs" show us how to notice the value in commonplace events. Yet, there is more, as we see in "What is Essential" and "Abhorrence;" living calls for action. Of over thirty books and chapbooks, this is perhaps his finest.

Winner, Montana Book Award-Honor Book, 2019 The River Where You Forgot My Name travels between early 1800s Virginia and Missouri and present-day western Montana, a place where “bats sail the river of dark.” In their crosscutting, the poems in this collection reflect on American progress; technology, exploration, and environment; and the ever-changing landscape at the intersection of wilderness and civilization. Three of the book’s five sections follow poet Corrie Williamson’s experiences while living for five years in western Montana. The remaining sections are persona poems written in the voice of Julia Hancock Clark, wife of William Clark, who she married soon after he returned from his western expedition with Meriwether Lewis. Julia lived with Clark in the then-frontier town of St. Louis until her early death in 1820. She offers a foil for the poet’s first-person Montana narrative and enriches the historical perspective of the poetry, providing a female voice to counterbalance the often male-centered discovery and frontier narrative. The collection shines with all-too human moments of levity, tragedy, and beauty such as when Clark names a river Judith after his future wife, not knowing that everyone calls her Julia, or when the poet on a hike to Goldbug Hot Springs imagines a mercury-poisoned Lewis waking “with the dawn between his teeth.” Williamson turns a curious and critical eye on the motives and impact of expansionism, unpacking some of the darker ramifications of American hunger for land and resources. These poems combine breathtaking natural beauty with backbreaking human labor, all in the search for something that approaches grace.