Killer Verse: Poems of Murder and Mayhem is a spine-tingling collection of terrifically creepy poems about the deadly art of murder. The villains and victims who populate these pages range from Cain and Abel and Bluebeard and his wives to Lizzie Borden, Jack the Ripper, and Mafia hit men. The literary forms they inhabit are just as varied, from the colorful melodramas of old Scottish ballads to the hard-boiled poetry of twentieth-century noir, from lighthearted comic riffs to profound poetic musings on murder. Robert Browning, Thomas Hardy, W. H. Auden, Stevie Smith, Mark Doty, Frank Bidart, Toi Derricotte, Lynn Emanuel, and Cornelius Eady are only a few of the many poets, old and new, whose work is captured in this heart-stopping—and criminally entertaining—collection.

Including a foreword by a woman who once dated him, the perverse, violent stories, poetry, and fantastic scribblings of a man convicted in 1972 of murdering two women chart the killer's extreme pathology.

What happens when an unstoppable force meets an immovable object in the field of death? In the dark underbelly of the mob, Tristan Caine has been an anomaly. As the only non-blooded member in the high circle of the Tenebrae Outfit, he is an enigma to all - his skills unparalleled, his morality questionable, and his motives unknown. He is lethal and he knows it. As does Morana Vitalio, the genius extraordinaire daughter of the rival family. What Caine does with weapons, Morana does with computers. When a twenty-year old mystery resurfaces, Morana infiltrates Caine's house, intent on killing him, unaware of a tie that binds them together. Hate, heat, and history clash together with unexpected sparks. But something bigger, something worse is happening in their world. And despite their animosity, only they can fight it down. The Predator is an enemies-to-lovers, dark, contemporary romance set in a fictional universe with mafia, passion and incredible storytelling.

“One of the strongest literary renditions of the Shoah I know.”—Saul Friedlander, Pulitzer Prize–winning author of The Years of Extermination I, one Henryk Stanislaw Wyrzykowski, Head Clerk of Closed Files, a department of one, work… in a forgotten well of ghostly sighs This astonishing novel in verse tells the story of Henryk Wyrzykowski, a drifting, haunted young man hiding from the Vietnam War in the basement of a San Francisco welfare building and translating his mother’s diaries. The diaries concern the Jedwabne massacre, an event that took place in German-occupied Poland in 1941. Wildly inventive, dark, beautiful, and unrelenting, The Wherewithal is a meditation on the nature of evil and the destruction of war.

Contributions by Jacob Agner, Susan V. Donaldson, Sarah Gilbreath Ford, Stephen M. Fuller, Jean C. Griffith, Ebony Lumumba, Rebecca Mark, Donnie McMahand, Kevin Murphy, Harriet Pollack, Christin Marie Taylor, Annette Trefzer, and Adrienne Akins Warfield The year 2013 saw the publication of Eudora Welty, Whiteness, and Race, a collection in which twelve critics changed the conversation on Welty’s fiction and photography by mining and deciphering the complexity of her responses to the Jim Crow South. The thirteen diverse voices in New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s uses of African American signifying in her short stories and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. Contributors discuss her adaptations of gothic plots, haunted houses, Civil War stories, and film noir. And they frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in America, and standup comedy. They compare her handling of whiteness and race to other works by such contemporary writers as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Discussions of race and class here also bring her masterwork The Golden Apples and her novel Losing Battles, underrepresented in earlier conversations, into new focus. Moreover, as a group these essays provide insight into Welty as an innovative craftswoman and modernist technician, busily altering literary form with her frequent, pointed makeovers of familiar story patterns, plots, and genres.