2012 Poetry Midwest Booksellers Choice Award winner "[Todd Boss] can make any rhyme feel like a concealed weapon." —Sherman Alexie With poems about loss, home, marriage, and the inner music of our lives, Pitch is a series of variations on an overturned piano. By turns bright and dark like the keys on a keyboard, these poems demonstrate the range of one of contemporary poetry’s most musical poets, a master of internal rhyme. from “Overtures on an Overturned Piano” . . . our hi-beams played across the gleaming bed of snowdrifted bramble where it lay, moaning chaotically . . .

Bernstein, a leading voice in American literary theory, writes an irreverent guide to modernist and contemporary poetics.

In Pitch Dark Anarchy, Randall Horton returns with renewed intensity to the themes that animated his acclaimed collections The Definition of Place and The Lingua Franca of Ninth Street. An extended meditation on the legacy of slavery and the Amistad rebellion serves as a kind of prefatory note, while the body of the text confronts contemporary issues of racial identity and urban decay.

In Pitch Lake, Andre Bagoo, author of the Bocas prize shortlisted poetry collection, Burn, displays a continuing commitment to exploration and experiment. Andre Bagoo's poems explore the multiple resonances of the title, where pitch signifies both the stickiness of memory - the way the La Brea Pitch Lake is a place where "buried trees [are] born again" - and the idea of scattering: of places and impressions and the effort to hold them in one vision.

Poetry unearthing the untold or not-told-enough tales of Black women and lesbians.

To Do List: 1. Win the biggest business pitch in my company’s history 2. Pretend I’m not crushing on my gorgeous mentor big time 3. Whatever happens, do NOT kiss him My girlfriends think I’m married to my business. They’ll do whatever it takes, from speed dating to blind dates, to prove to me that there’s more to life than my career. But who cares if I haven’t been on a date in four years? All my hard work is about to pay off when my marketing agency lands the biggest account in its history—we’ve just got to win it first. My father has arranged for the mysterious Paul Neilsen to mentor me through the pitching process. He’s a media mogul who likes to keep a low profile, but he’s nothing like I expected. He’s attractive, in an I’m-finding-it-hard-to-concentrate-on-my-work sort of way. He also understands me, and I’m confiding in him more than is strictly professional. But getting involved with Paul could ruin the biggest opportunity in my company’s history, although try telling that to my heart. It obviously didn’t read the company memo. As for what happens next . . . Well, that definitely wasn’t in my business plan . . .

An accessible introduction to poetry's unusual uses of language that tackles a wide range of poetic features from a linguistic point of view. Equally appealing to the non-expert and more experienced student of linguistics, this book delivers an engaging and often witty summary of how we define what poetry is.