In her accomplished second collection of poems, Katrina Vandenberg writes from the intersection of power and forgiveness. With poems named for letters of the Phoenician alphabet, and employing such innovative forms as the ancient ghazal, Vandenberg deciphers the seemingly indecipherable in this extraordinary becoming of self through language. Moving between the physical and the abstract, the individual and the collective, Alphabet Not Unlike the World unearths meaning—with astonishing beauty—from the pain of loss and separation. “A deeply confident, compelling voice, with strong music, originality, and flow. I wanted to go wherever it went. Passionate with a keen sense of surprise, these poems are funny, serious, and wise all at once. Bravo.” —Naomi Shihab Nye

In her accomplished second collection of poems, Katrina Vandenberg writes from the intersection of power and forgiveness. With poems named for letters of the Phoenician alphabet, and employing such innovative forms as the ancient ghazal, Vandenberg deciphers the seemingly indecipherable in this extraordinary becoming of self through language. Moving between the physical and the abstract, the individual and the collective, "Alphabet Not Unlike the World" unearths meaning--with astonishing beauty--from the pain of loss and separation.

This debut collection of poetry by Katrina Vandenberg draws on different meanings of the title, carrying lines from one poem to the next and capturing the reverberations of events across time and place. One poem links an image of the poet's sister -- paused in housekeeping work -- to a maid in a Vermeer painting and a woman being made over on Oprah. Another compares an ex-lover's HIV to a 19th-century tulip epidemic. Quiet yet forthright, intimate yet generous, Vandenberg's poems map the intersections of history, art, love, death, and desire.

With hilariously yucky ABCs, The Yuckiest Alphabet Book in the World celebrates a love for everything muddy, messy, icky, and gooey! Learning the alphabet has never been yuckier! This colorful, cringey collection cycles through each letter of the alphabet, pairing the ABCs with wonderfully yucky words and hilarious imagery to create an icky-sticky fun tour of our weird little language. Prepare your stomach (and your brain) for combinations like… A is for apple, rotten and wormy B is for boogie, bright green and germy C is for candy, stuck to your hair D is for dragon, breathing stinky fire everywhere Y is for yak, drooling and stinky Zzzzzz is for bedtime, and bedtime is YUCKY! Let this book be a resource for your kids and a reading activity for the whole family! Organized from atrocious A to zany Z and decked out with illustrations that are bound to turn your tummy, The Yuckiest Alphabet Book in the World is the perfect balance of yuck and yay! Just look at the cover: draped in striped, brightly colored fur, this book boasts a “so-ugly-its-cute” aesthetic that would look good on any bookshelf or nursery. But it’s not what’s on the outside that counts...it’s what’s on the inside, which is why we’ve opted for sturdy board pages for this colorful kids' book. Revisit the fun of learning with this whimsical exploration of the English language.

Monica Berlin’s Nostalgia for a World Where We Can Live resides at the turbulent confluence of relentless news cycles and the repeated rending of our interior lives. In Berlin’s poetry sorrow makes its own landscape—solitary, intimate, forward-looking. Whether we attempt to traverse it or choose bypass, her poems show us where we live, how we carry on. These poems notice the day in the wind, the night tucked up to the train tracks, and a slipping-in of yesterday, memory-laden, alongside the promise of a more hopeful tomorrow. Here is the Midwest, vibrant and relic, in the ongoing years of collapse and recovery. Here the constant companionship of weather lays claim to its own field of vision. Here, too, devastation: what’s left after. Berlin reminds us we are at the mercy of rivers, oceans, earth, wind, rain, blizzard, drought, and each other. “Maybe what I mean / to say is that I’ve come to see all the names we might / recognize destruction by,” Berlin’s speaker discovers. “We might / sometimes, stupidly, call it love.” On her familiar prairie of lyricism and tumult, beauty and ruin, Berlin’s poems insist, plead, and seek to reassure. In a collection both mournful and urgent, both a “little book of days” and a song, this poet meditates on loss, wonder, and always the consolations of language.

In Mercy & Melons, each letter of the alphabet calls forth two words: a word that celebrates an ordinary thing, and another word that names a holy quality about God. Those pairings speak to each other. For those who pay attention to those pairings, they discover something about prayer and about God. This companion guide to Mercy & Melons offers a practical guide to living and exploring and praying those pairings in our daily life--as we look for beauty and hope in the “ordinary” things around us. Each of the 26 chapters focuses on four ways to explore those pairings: Ask Practice Implement Center “Praying the alphabet allows us to be thorough in our prayers because each letter conjures up something we might not otherwise have remembered: mercy, melons. Suddenly, we can taste both.” Use this companion along with Mercy & Melons or as its own guide to prayer, for a retreat, for Lent, or any time you want to explore praying in new ways.

Poetry that eloquently concentrates on the spiritual and physical lives of women. This is the first book published in English by of the work of Brazilian poet Adélia Prado. Incorporating poems published over the past fifteen years, The Alphabet in the Park is a book of passion and intelligence, wit and instinct. These are poems about human concerns, especially those of women, about living in one’s body and out of it, about the physical but also the spiritual and the imaginative life. Prado also writes about ordinary matters; she insists that the human experience is both mystical and carnal. To Prado these are not contradictory: “It’s the soul that’s erotic,” she writes. As Ellen Watson says in her introduction, &;ldquo;Adélia Prados poetry is a poetry of abundance. These poems overflow with the humble, grand, various stuff of daily life—necklaces, bicycles, fish; saints and prostitutes and presidents; innumerable chickens and musical instruments. And, seemingly at every turn, there is food.” But also, an abundance of dark things, cancer, death, greed. These are poems of appetite, all kinds.