“A wonderful example of the poet’s ability to satisfy readers and anticipate their thoughts.”—Elizabeth Lund, Washington Post In his sixteenth collection, Stephen Dunn continues to bring his imagination and intelligence to what Wallace Stevens calls “the problems of the normal,” which of course pervade most of our lives. The poem “Don’t Do That” opens with the lines: “It was bring-your-own if you wanted anything / hard, so I brought Johnnie Walker Red / along with some resentment I’d held in / for a few weeks.” In other poems, Dunn contemplates his own mortality, echoing Yeats—“That is no country for old men / cadenced everything I said”—only to discover he’s joined their ranks. In “The Writer of Nudes” his speaker is in search of the body’s “grammar” but tells his models, “Don’t expect to see yourself as other / than I see you.” Full of grace, wit, humor, and masterful precision, the poems in Here and Now attest to the contradictions we live with in the here and now. Political and metaphysical, these astonishing poems remind us of the essential human comedy of getting through each day. from "The House on the Hill" . . . from out of the fog, a large, welcoming house would emerge made out of invention and surprise. No things without ideas! you'd shout, and the doors would open, and the echoes would cascade down to the valleys and the faraway towns.

Prose poems.

“Mesmerizing, magical, deeply moving.” —Elif Shafak Expanding on the popular podcast of the same name from On Being Studios, Poetry Unbound offers immersive reflections on fifty powerful poems. In the tumult of our contemporary moment, poetry has emerged as an inviting, consoling outlet with a unique power to move and connect us, to inspire fury, tears, joy, laughter, and surprise. This generous anthology pairs fifty illuminating poems with poet and podcast host Pádraig Ó Tuama’s appealing, unhurried reflections. With keen insight and warm personal anecdotes, Ó Tuama considers each poem’s artistry and explores how its meaning can reach into our own lives. Focusing mainly on poets writing today, Ó Tuama engages with a diverse array of voices that includes Ada Limón, Ilya Kaminsky, Margaret Atwood, Ocean Vuong, Layli Long Soldier, and Reginald Dwayne Betts. Natasha Trethewey meditates on miscegenation and Mississippi; Raymond Antrobus makes poetry out of the questions shot at him by an immigration officer; Martín Espada mourns his father; Marie Howe remembers and blesses her mother’s body; Aimee Nezhukumatathil offers comfort to her child-self. Through these wide-ranging poems, Ó Tuama guides us on an inspiring journey to reckon with self-acceptance, history, independence, parenthood, identity, joy, and resilience. For anyone who has wanted to try their hand at a conversation with poetry but doesn’t know where to start, Poetry Unbound presents a window through which to celebrate the art of being alive.

A trenchant search for beauty amidst a world ravaged by cruelty.

The stories in the book are grouped for expected developmental levels for children between the ages of two and seven, reflecting the growing world of the child from self-centric to an understanding of facts far removed from the child's immediate world.

Working at the crossroads of contemporary geographical and cultural theory, the book explores how social spaces function as sites which foreground D. H. Lawrence and Virginia Woolf's critiques of the social order and longings for change. Looking at various social spaces from homes to nations to utopian space brought into the here and now the book shows the ways in which these writers criticize and deconstruct the contemporary symbolic, physical, and discursive spatial topoi of the dominant socio-spatial order and envision a more liberating and inclusive human geography. In addition, the book calls for the need to redress the tendency of some spatial theories to underestimate the political potential of literary discourse about space, instead of simply and mechanically appropriating some theoretical concepts to literary criticism. One of the central findings in the book, therefore, is that literary texts can perform subversive interventions in the production of social space through their critical interaction with dominant spatial codes.