To celebrate 50 years since the first moon landing by Apollo 11 in 1969, here is an original collection of 50 poems. In his poems Dom tells us of two incredible things--the Moon is incredible: it controls our tides, to give us 24-hour days, and it keeps our planet stable enough to have seasons. Dom reminds us that poetry too is incredible because it is the most flexible form of expressing ourselves and has been always how we used to tell stories, particularly about our ways of seeing this incredible Moon. The Moon is an inspiring rock of possibilities. To tell us this, Dom uses lots of poetry forms: short poems and long ones, silly ones and serious ones. There are haiku and sonnets, acrostics and shapes. He uses kennings and metaphors and slang. He uses established rhythms which you might find in older poems and he uses the rhythms he hears in his head when his son smiles at him. So take up the challenge: Read the poems, fly to the moon, land on it, orbit it. Go to walk on it, live on it, steal it, eat it!

"The poets who fill these pages have come to testify, to bear witness to the mysterious power of Rock and Roll. -- from the Foreword by Bono "The thread or the theme That holds this tune Together is the same One that rips it open...." -- from Gimme Shelter by Bill Knott "Chunky on the shag rug, I'm looking for my anthem, I'm looking for my headphones, I'm looking for the bare spot on the rug to wallow, side-stepped on the chair-stopped door. I blast my ears out." -- from The Prophet's Song by Daniel Nester "Drums, Whatta lotta Noise you want a Revolution? Wanna Apocalypse? Blow up in Dynamite Sound?" -- from Punk Rock You're My Big Crybaby by Allen Ginsberg As revolutionary as the music it celebrates, the poetry in this electrifying anthology -- by poets such as Billy Collins, Rita Dove, Yusef Komunyakaa, Paul Muldoon and Philip Larkin -- turns rock upside down with indelible images and powerful expressions of the music that changed our lives.

While there have been countless books written about Detroit, none have captured its incredible musical history like this one. Detroit artists have forged the paths in many music genres, producing waves of creative energy that continue to reverberate across the country and around the world. This anthology both documents and celebrates this part of Detroit's history, capturing the emotions that the music inspired in its creators and in its listeners. The range of contributors speaks to the global impact of Detroit's music scene--Grammy winners, Pulitzer Prize winners, Rock and Roll Hall of Fame inductees, and poet laureates all come together in this rich and varied anthology.

Hip-hop artist, rapper, songwriter and producer, Aesop Rock is a truly talented man. While his imagery-rich, meticulously crafted lyrics are ones he explicitly writes to be sung with a beat, they evoke intellect and emotion in their poetic magnificence. Listen along, or simply soak in the words for what they are: masterful.

From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.

During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.