A collection of poems celebrating the New Year by a variety of authors.

A literary cookbook that celebrates food and poetry, two of life's essential ingredients. In the same way that salt seasons ingredients to bring out their flavors, poetry seasons our lives; when celebrated together, our everyday moments and meals are richer and more meaningful. The twenty-five inspiring poems in this book—from such poets as Marge Piercy, Louise Glück, Mark Strand, Mary Oliver, Billy Collins, Jane Hirshfield—are accompanied by seventy-five recipes that bring the richness of words to life in our kitchen, on our plate, and through our palate. Eat This Poem opens us up to fresh ways of accessing poetry and lends new meaning to the foods we cook.

Featuring “Good Bones”—called “Official Poem of 2016” by the BBC/Public Radio International. Maggie Smith writes out of the experience of motherhood, inspired by watching her own children read the world like a book they've just opened, knowing nothing of the characters or plot. These are poems that stare down darkness while cultivating and sustaining possibility, poems that have a sense of moral gravitas, personal urgency, and the ability to address a larger world. Maggie Smith's previous books are The Well Speaks of Its Own Poison (Tupelo, 2015), Lamp of the Body (Red Hen, 2005), and three prize-winning chapbooks: Disasterology (Dream Horse, 2016), The List of Dangers (Kent State, 2010), and Nesting Dolls (Pudding House, 2005). Her poem “Good Bones” has gone viral—tweeted and translated across the world, featured on the TV drama Madam Secretary, and called the “Official Poem of 2016” by the BBC/Public Radio International, earning news coverage in the New York Times, Washington Post, Slate, the Guardian, and beyond. Maggie Smith was named the 2016 Ohio Poet of the Year. “Smith's voice is clear and unmistakable as she unravels the universe, pulls at a loose thread and lets the whole thing tumble around us, sometimes beautiful, sometimes achingly hard. Truthful, tender, and unafraid of the dark....”—Ada Limón “As if lost in the soft, bewitching world of fairy tale, Maggie Smith conceives and brings forth this metaphysical Baedeker, a guidebook for mother and child to lead each other into a hopeful present. Smith's poems affirm the virtues of humanity: compassion, empathy, and the ability to comfort one another when darkness falls. 'There is a light,' she tells us, 'and the light is good.'”—D. A. Powell “Good Bones is an extraordinary book. Maggie Smith demonstrates what happens when an abundance of heart and intelligence meets the hands of a master craftsperson, reminding us again that the world, for a true poet, is blessedly inexhaustible.”—Erin Belieu

Reprint of the original, first published in 1883.

New poetry by the Champion of the International Poetry Slam and winner of the Before Columbus American Book Award, the International Hispanic Heritage Award, the Pushcart Prize, and the prestigious new International Award.

“Emotionally resonant and stirring.”—Kirkus Reviews (starred review) “Lucky the reader who would have this collection lying around for visiting and revisiting.”—Horn Book Magazine This celebratory book collects in one volume award-winning and beloved poet Naomi Shihab Nye’s most popular and accessible poems. Featuring new, never-before-published poems; an introduction by bestselling poet and author Edward Hirsch, as well as a foreword and writing tips by the poet; and stunning artwork by bestselling artist Rafael López, Everything Comes Next is essential for poetry readers, classroom teachers, and library collections. Everything Comes Next is a treasure chest of Naomi Shihab Nye’s most beloved poems, and features favorites such as “Famous” and “A Valentine for Ernest Mann,” as well as widely shared pieces such as “Kindness” and “Gate A-4.” The book is an introduction to the poet’s work for new readers, as well as a comprehensive edition for classroom and family sharing. Writing prompts and tips by the award-winning poet make this an outstanding choice for aspiring poets of all ages.

Poetry. Christoper DeWeese's second book, THE FATHER OF THE ARROW IS THE THOUGHT, re-says the human against the "fucked ecosystem" of the contemporary landscape. Locating themselves in a series of varied physiographic settings, the poems illuminate the tragic reality of our imaginations: that our bodies lag behind our minds; that our physical forms can never go so far as we think, dream, or say. But this is not simply a book of elegy and woe. Drawing upon Paul Klee's theory of "creative kinetics," the idea of art defying physical laws through the use of symbolic, visionary, or transcendent imaginative acts, DeWeese presses past lament, unmoving something strange and complicated amidst "the uncharted lands / I keep discovering inside / no, behind me, / where my bones I throw." Personal, surprising, questing and ambitious, THE FATHER OF THE ARROW IS THE THOUGHT is a wild event, a new myth shot through time and space. "DeWeese's poems, a unified collection of stand alone meditations, offer a new myth composed straight out of our 21st Century's hideous beauty. The poems' heroic chronicle epics our situation and offers us redeeming compassion. That we're able to imagine our way through, across, over, above, beyond and around just about anything, tempts us, teases us, and lets us see what can't be seen." Dara Wier The cloud is trying to hold itself together, and I am trying to hold up the cloud. Heavy and tired, I look around. I drag myself across the rainbow, a quiet exhibit immediately forgotten in the question of distance, how many miles it is between here and anything, the horizon a cliff all jump and floating, the miles just numbers hidden between my breathing and the real sun stumbling its transparent limbs through the window. I want to grab the cloud and juice it down, and then stuff it in the blender. The cloud is boneless. It's getting closer, a uvula vibrating in the handsome wind. I breathe evenly. For a gangster, I'm getting pretty good at this. It's as if breathing is a bank I've robbed so often I've been named its president. The responsibility soothes me. Orphans depend on my decisions. I look out the window. I walk into the white building."