In this fresh approach to writing poetry, the coauthor of the perennially popular The Poet's Companion offers sharp insights into the craft of writing. "The creative process is just that," maintains Kim Addonizio. "Not a means to an end, but an ongoing participation." A widely acclaimed poet and finalist for the National Book Award, Addonizio meditates on her own process as she encourages writers to explore both their personal and political worlds, to seek inspiration from poets new and old, and to discover the rich poetic resources of the Internet. Lively, accessible, and informative, Ordinary Genius?provides wisdom gleaned through personal experience and offers a heady variety of writing exercises. Chapters on gender, addiction, race and class, metaphor and line invite each individual writer to find and to hone his or her unique voice. This is the perfect book for both experienced writers and beginners eager to glimpse the angel of poetry.

From the nuts and bolts of craft to the sources of inspiration, this book is for anyone who wants to write poetry-and do it well. The Poet's Companion presents brief essays on the elements of poetry, technique, and suggested subjects for writing, each followed by distinctive writing exercises. The ups and downs of writing life—including self-doubt and writer's block—are here, along with tips about getting published and writing in the electronic age. On your own, this book can be your "teacher," while groups, in or out of the classroom, can profit from sharing weekly assignments.

Poetry from the author of Tell Me, a finalist for the National Book Award. A chestnut with a white blaze is scorching across the turf towards the finishing post.

A dark, no-holds-barred, and often hilarious collection from a prize-winning poet, veering between the poles of self and world. Kim Addonizio’s sharp and irreverent eighth volume, Now We’re Getting Somewhere, is an essential companion to your practice of the Finnish art of kalsarikännit—drinking at home, alone in your underwear, with no intention of going out. Imbued with the poet’s characteristic precision and passion, the collection charts a hazardous course through heartache, climate change, dental work, Outlander, semiotics, and more. Combatting existential gloom with a wicked, seductive energy, Addonizio investigates desire, loss, and the madness of contemporary life. She calls out to Walt Whitman and John Keats, echoes Dorothy Parker, and finds sisterhood with Virginia Woolf. Sometimes confessional, sometimes philosophical, these poems weave from desolation to drollery and clamor with raucous imagery: an insect in high heels, a wolf at an uncomfortable party, a glowing and self-serious guitar. A poet whose “voice lifts from the page, alive and biting” (Sky Sanchez, San Francisco Book Review), Addonizio reminds her reader, "if you think nothing & / no one can / listen I love you joy is coming."

“Somewhere between Jo Ann Beard’s The Boys of My Youth and Amy Schumer’s stand-up exists Kim Addonizio’s style of storytelling . . . at once biting and vulnerable, nostalgic without ever veering off into sentimentality.” —Refinery29 “Always vital, clever, and seductive, Addonizio is a secular Anne Lamott, a spiritual aunt to Lena Dunham.” —Booklist A dazzling, edgy, laugh-out-loud memoir from the award-winning poet and novelist that reflects on writing, drinking, dating, and more Kim Addonizio is used to being exposed. As a writer of provocative poems and stories, she has encountered success along with snark: one critic dismissed her as “Charles Bukowski in a sundress.” (“Why not Walt Whitman in a sparkly tutu?” she muses.) Now, in this utterly original memoir in essays, she opens up to chronicle the joys and indignities in the life of a writer wandering through middle age. Addonizio vividly captures moments of inspiration at the writing desk (or bed) and adventures on the road—from a champagne-and-vodka-fueled one-night stand at a writing conference to sparsely attended readings at remote Midwestern colleges. Her crackling, unfiltered wit brings colorful life to pieces like “What Writers Do All Day,” “How to Fall for a Younger Man,” and “Necrophilia” (that is, sexual attraction to men who are dead inside). And she turns a tender yet still comic eye to her family: her father, who sparked her love of poetry; her mother, a former tennis champion who struggled through Parkinson’s at the end of her life; and her daughter, who at a young age chanced upon some erotica she had written for Penthouse. At once intimate and outrageous, Addonizio’s memoir radiates all the wit and heartbreak and ever-sexy grittiness that her fans have come to love—and that new readers will not soon forget.

"Terrific stories...Just about perfect" (Entertainment Weekly): Brownsville is the collection that established Oscar Casares as one of the leading voices in the literature of the modern Southwest. At the country's edge, on the Mexican border, Brownsville, Texas, is a town like many others. It is a place where people work hard to create better lives for their children, where people bear grudges against their neighbors, where love blossoms only to fade, and where the only real certainty is that life holds surprises. In his sparkling debut, Oscar Casares creates a cast of unforgettable characters confronting everyday possibilities and contradictions: Diego, an eleven-year-old whose job at a fireworks stand teaches him a lesson in defiance; Bony, a young man whose discovery of a monkey's head on his lawn drives a wedge between him and his parents; Lola, whose stolen bowling ball offers an unlikely chance for change. The achievement of Brownsville lies in its remarkably honest portrayal of these lives -- the lives of people whose dreams and yearnings and regrets are at once unique and universal. "Marvelous...Brownsville resembles early Steinbeck work more than anything else." --Carolyn See, Washington Post

In Round, she writes: "Let's get married, Rita says. / She puts her head in Jimmy's lap, / nuzzles his balls through his underwear. / The guy on the ropes goes down. / He pushes her away. / Her voice / in his ear now, drowning out / the count. Marry me, Jimmy. / He sees the crowd / on its feet, screaming, / him just lying there."