Neo-confessional poems about moving back to the suburbs, raising a family, sustaining a marriage, and facing the humility that comes with not being young anymore.

Finalist for the New England Book Award in Poetry and the Vermont Book Award As heard on NPR Morning Edition A New York Public Library Best Book of 2022 A searching, startling new collection of poems from the author of The Möbius Strip Club of Grief and Someone Else’s Wedding Vows Written in four sections with incisive and vivid lyrical language, Bianca Stone’s What Is Otherwise Infinite considers how we find our place in the world through themes of philosophy, religion, environment, myth, and psychology. “I deal only in the hardest pain-revivers, symbols and tongues,” writes Stone. “I want to tell you only / in the intimacy of our discomfort.” Populated by Archangels, limping in paradise; by allergies of the soul; the intimacy and danger of motherhood; psychic wounds; and dirty, dirty chocolate layer cake, What Is Otherwise Infinite deftly examines our inherent and inherited ideas of how to live, and the experience of the Self—which on one hand is so intensely personal, and on the other, universal.

One of our most perceptive critics on the ways that poets develop poems, a career, and a life Though it seems, at first, like an art of speaking, poetry is an art of listening. The poet trains to hear clearly and, as much as possible, without interruption, the voice of his or her mind, the voice that gathers, packs with meaning, and unpacks the language he or she knows. It can take a long time to learn to let this voice speak without getting in its way. This slow learning, the growth of this habit of inner attentiveness, is poetic development, and it is the substance of the poet’s art. Of course, this growth is rarely steady, never linear, and is sometimes not actually growth but diminishment—that’s all part of the compelling story of a poet’s way forward. —from the Introduction “The staggering thing about a life’s work is it takes a lifetime to complete,” Craig Morgan Teicher writes in these luminous essays. We Begin in Gladness considers how poets start out, how they learn to hear themselves, and how some offer us that rare, glittering thing: lasting work. Teicher traces the poetic development of the works of Sylvia Plath, John Ashbery, Louise Glück, and Francine J. Harris, among others, to illuminate the paths they forged—by dramatic breakthroughs or by slow increments, and always by perseverance. We Begin in Gladness is indispensable for readers curious about the artistic life and for writers wondering how they might light out—or even scale the peak of the mountain.

Inspired by Lowell's Life Studies, Teicher explores troubled spaces between loved ones as a son becomes a husband and father.

The publication of this book restores a missing chapter in the history of twentieth-century American literature With his New Directions debut in 1938, the twenty-five-year-old Delmore Schwartz was hailed as a genius and among the most promising writers of his generation. Yet he died in relative obscurity in 1966, wracked by mental illness and substance abuse. Sadly, his literary legacy has been overshadowed by the story of his tragic life. Among poets, Schwartz was a prototype for the confessional movement made famous by his slightly younger friends Robert Lowell and John Berryman. While his stories and novellas about Jewish American experience laid the groundwork for novels by Saul Bellow (whose Humboldt’s Gift is based on Schwartz’s life) and Philip Roth. Much of Schwartz’s writing has been out of print for decades. This volume aims to restore Schwartz to his proper place in the canon of American literature and give new readers access to the breadth of his achievement. Included are selections from the in-print stories and poems, as well as excerpts from his long unavailable epic poem Genesis, a never-completed book-length work on T. S. Eliot, and unpublished poems from his archives.

Named a Summer Must Read by Wall Street Journal, Elle, Harper’s Bazaar, Entertainment Weekly, Glamour, Esquire, Bustle, Town & Country, Good Housekeeping, Refinery29, and more “[Hoby] might have just written the defining New York City novel of our fraught, socially anxious, and politically tumultuous times.” —Interview “Intense and addictive.” —New York Times A powerful novel of youth, desire, and moral conflict, in which a young man is seduced by the mirage of glamour—at terrible cost. Arriving in New York City for an internship at an elite but fading magazine, Luca feels invisible: smart but not worldly, privileged but broke, and uncertain how to navigate a new era of social change. Among his peers is Zara, a young Black woman whose sharp wit and frank views on injustice create tension in the office, especially in the wake of a shock election that’s irrevocably destabilized American life. In the months that follow, as the streets of New York fill with pink-hatted protesters and the magazine faces a changing of the guard, Luca is taken under the wing of an attractive and wealthy white couple—Paula, a prominent artist, and Jason, her filmmaker husband—whose lifestyle he finds both alien and alluring. With the coming of summer, Luca is swept up in the fever dream of their marriage, accepting an invitation to join the couple and their children at their beach house, and nurturing an infatuation both frustrating and dangerous. Only after he learns of a spectacular tragedy in the city he has left behind does he begin to realize the moral consequences of his allegiances. In language at once lyrical and incisive, Virtue offers a clear-eyed, unsettling story of the allure of privilege and the costs of complacency, from a writer of astonishing acuity and vision.

Kaveh Akbar’s exquisite, highly anticipated follow-up to Calling a Wolf a Wolf With formal virtuosity and ruthless precision, Kaveh Akbar’s second collection takes its readers on a spiritual journey of disavowal, fiercely attendant to the presence of divinity where artifacts of self and belonging have been shed. How does one recover from addiction without destroying the self-as-addict? And if living justly in a nation that would see them erased is, too, a kind of self-destruction, what does one do with the body’s question, “what now shall I repair?” Here, Akbar responds with prayer as an act of devotion to dissonance—the infinite void of a loved one’s absence, the indulgence of austerity, making a life as a Muslim in an Islamophobic nation—teasing the sacred out of silence and stillness. Richly crafted and generous, Pilgrim Bell’s linguistic rigor is tuned to the register of this moment and any moment. As the swinging soul crashes into its limits, against the atrocities of the American empire, and through a profoundly human capacity for cruelty and grace, these brilliant poems dare to exist in the empty space where song lives—resonant, revelatory, and holy.