Poetry. "Emily Pettit has included a number of 'how to' poems in her nimble and dazzling first collection, such as: 'How to Make No Noise, ' and the especially useful 'How to Avoid Confronting Most Large Animals.' Her kindness is always ahead of us, anticipating the problems we will or won't run into, and we always end up in a different, precise place than the one we started out from, as she reassuringly tells us: 'You know / you know you know. It's all uncertainty / and your neck. You walk slowly / in a calm voice.' GOAT IN THE SNOW is multicolored, ever-changing, a delight to try to clasp." John Ashbery "GOAT IN THE SNOW is like a taste test between an etch-a-sketch and a spotlight, a race between a wind-up beetle and an idea. The certainty of Pettit's 'I know, ' and 'I think' quickly turns into a quicksand of questions. Perceptive, jumpy and perfectly odd, this book encourages you to 'try to maneuver like a spacecraft / passing sufficiently close to a planet / in order to make some relatively detailed observations / Without landing.'" Matthea Harvey "The poems in GOAT IN THE SNOW often ask odd, penetrating questions. 'What do you call a field of black telephones ringing?' 'Where did you find such a stunning embankment?' 'Is this what loving someone is like?' 'Do you remember the basement?' 'In what direction do you look when someone says something true?' These poems are full of mortal awareness, and are sophisticated without being ornate or 'poetic.' When the poet says, 'Once in modest and murky water, I had a very disturbing conversation with a boat,"' I don't feel as if she is writing in metaphor. I feel like something real has happened." Matthew Zapruder"

The poems in James Najarian's debut collection are by turns tragic and mischievous, always with an exuberant attention to form. Najarian turns his caprine eye to the landscapes and history of Berks Country, Pennsylvania, and to the middle east of his extended Armenian family. These poems examine our bonds to the earth, to animals, to art and to desire. From "Goat Song" I start up in my wide suburban bed, patting the mattress, hoping they are real, and call the names that seem to be for strippers: Candy, Ceffie, Bambi, Serenade. Just as the names come out, I understand them decades--caprine generations--gone, leaving me only with a kind surmise: that somewhere their uncountable-great grandkids are cramming their mouths with rose and thistle, breaking out of other pastures, with some other boy. "In blank verse, free verse, stanzas and syllabics rhymed with delicate quirkiness, the poems of The Goat Songs are sure-footed and nimble."--A.E. Stallings, author of Olives and judge

Acclaimed English translation of poems by one of the most gifted and colourful of Japan's early modern poets: Nakahara Chuya. Now ranked among the finest Japanese verse of the 20th century, influenced by both Symbolism and Dada, he created lyrics renowned for their songlike eloquence, their personal imagery and their poignant charm.

Introduced by Michael Longley, Goat's Milk is a comprehensive retrospective of the work of Frank Ormsby, a central figure in the poetry of Northern Ireland for the past forty years. As well as a whole collection of new poems, it includes work from his four previous collections: A Store of Candles (1977), A Northern Spring (1986), The Ghost Train (1995) and Fireflies (2009). In his most recent poems Ormsby brings a new directness and simplicity to bear on the rural Fermanagh of his boyhood. A series of vignettes evokes his formative years, both his experience of division and loss (the impact of his father's death is a constant theme in his work), but also the enriching aspects of family and community and of the natural world. These poems deepen and extend themes central to the earlier work. They also reflect what The Oxford Companion to Irish Literature describes as Ormsby's gift for a 'poetry of resonant minutiae' which 'celebrates the neglected recesses of the commonplace'. Goat's Milk was shortlisted for the Christopher Ewart-Biggs Memorial Prize 2018.

Concerned with giving voice to Cape Verdean life, Fortes writes in Cape Verdean Creole - and not just standard Portuguese - a powerful statement reinforcing the islands' distinctive African nature. However, his poems are often written from the perspective of an exile - and themes of exile and redemptive return recur in his work. This collection introduces English readers to Fortes, and the poet's beautiful and unique use of language.

Winner of the 1994 Lamont Poetry selection of The Academy of American Poets. "Kelly has a talent for coaxing out the world's ghosts and then fixing them in personal landscapes of fear and uncertainty.... Smoothed by nuances of sound and rhythm, her poems exude an ambiguous wisdom, an acceptance of the sad magic that returns us constantly to the lives we might have led."--Library Journal