Early/Incomplete Work of Ace Finlay. Drawing courtesy of Syko. Contains Original Bloodstone Draft& Many More Pieces. Works span from between 2006 and 2014.

“Paul Tran’s debut collection of poems is indelible, this remarkable voice transforming itself as you read, eventually transforming you.” —Alexander Chee, author of How to Write an Autobiographical Novel “This powerful debut marshals narrative lyrics and stark beauty to address personal and political violence.” —New York Times Book Review A profound meditation on physical, emotional, and psychological transformation in the aftermath of imperial violence and interpersonal abuse, from a poet both “tender and unflinching” (Khadijah Queen) Visceral and astonishing, Paul Tran's debut poetry collection All the Flowers Kneeling investigates intergenerational trauma, sexual violence, and U.S. imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran’s poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love.

The wizard, watchful, waits alone within his tower of cold gray stone and ponders in his wicked way what evil deeds he'll do this day. What do you think the wizard is planning to do? Conjure a magic spell? Turn a frog into a flea? Fill a cauldron with bubbling brew? You may think you know . . . but watch out. Because if the wizard is bored, he may come looking for you!

Collects fantasy, horror, fairy tales, and gothic stories chosen from the past year, including works by Ursula K. LeGuin, Neil Gaiman, and Bill Lewis.

“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

Essays in which happiness becomes a magic carpet, lifting readers above momentary fret and making the ordinary appears wondrous.

Mary Oliver is one of America's best-loved poets, the winner of the Pulitzer Prize and the National Book Award. Her luminous poetry celebrates nature and beauty, love and the spirit, silence and wonder, extending the visionary American tradition of Whitman, Emerson, Frost and Emily Dickinson. Her extraordinary poetry is nourished by her intimate knowledge and minute daily observation of the New England coast, its woods and ponds, its birds and animals, plants and trees.