The poetry in Marimba Forever is concerned with love and longing, which the author displays in all their multifarious guises. Many of the poems can be regarded as small films: nourish, action, farce or slapstick; others call music to mind: a tenor saxophone improvising on a standard melody in the wee small hours just as the milk man is getting up and rubbing sleep from his eyes; a roadhouse honky-tonk hell-raiser; six gypsies with accordions and tubas on the back of a flatbed truck somewhere near Ploestki or a marimba orchestra in a tropical town square playing like they never want to stop while palm trees sway and lovers neck on the green benches.

Few artists (one thinks of Rilke and Hopkins) have presumed to evoke the spirit of embodied Nature. A. F. Moritz not only succeeds in thus animating a living world, but he deals with our human presence and assault on it with sympathy and a larger vision than the misanthropy such injuries easily summon. This is nature poetry with a difference: through Moritz's landscapes, from the abandoned industries of the Rust Belt to the decaying monuments of vanished civilization, move the vivid and engaging characters we have come to expect from this clear-eyed and open-hearted poet.

The word "magyarázni" (pronounced MUG-yar-az-knee) means "to explain" in Hungarian, but translates literally as "make it Hungarian." This faux-Hungarian language primer, written in direct address, invites readers to experience what it's like to be "made Hungarian" by growing up with a parent who immigrated to North America as a refugee. In forty-five folk-art visual poems each paired with a written poem, Hajnoczky reveals the beauty and tension of first-generation cultural identity. ‘Because translation between cultures is always fraught – and yet somehow translate we must – Magyarázni explores language and cultural identity in the permeable space fomenting between family and society, word and image initiating us into a new alphabet of lived meaning. In reading we wonder along with Magyarázni’s wandering “you,” we care and get entangled in the “brambles of your cursive,” we too are “made Hungarian.”’ – Oana Avasilichioaei ‘Familiar but out of reach, Magyarázni reforms the language of home on the tip of your tongue, a language of knotted cursive and bubbled syntax; folksong and stovetop. Each letter blossoms as a hand-drawn flower and a sputtering drone of spits and pith. Magyarázni punctuates every I with a poppy seed, every C with the splinter­ed foil of a solemn treat. Mournful and personal, Magyarázni calls out for the language of family.’ – Derek Beaulieu

A man disappears. The woman who loves him is left scarred and haunted. In her fierce, one-of-a-kind debut, Rebecca Lindenberg tells the story-in verse-of her passionate relationship with Craig Arnold, a much-respected poet who disappeared in 2009 while hiking a volcano in Japan. Lindenberg's billowing, I-contain-multitudes style lays bare the poet's sadnesses, joys, and longings in poems that are lyric and narrative, at once plainspoken and musically elaborate. Regarding her role in Arnold's story, Lindenberg writes with clear-eyed humility and endearing dignity: "The girl with the ink-stained teeth / knows she's famous / in a tiny, tragic way. / She's not / daft, after all." And then later, playfully, of her travels in Italy with the poet, her lover: "The carabinieri / wanted to know if there were bears / in our part of America. Yes, we said, / many bears. Man-eating bears' Yes, of course, / many man-eating bears." Every poem in this collection bursts with humor, pathos, verve-and an utterly unique, soulful voice. This widely anticipated debut, already selected as a finalist for several prominent book awards, marks the first collection in the newly minted McSweeney's Poetry Series. MPS is an imprint which seeks to publish a broad range of excellent new poetry collections in exquisitely designed hardcovers-poetry that's useful and meaningful to anyone in any walk of life.

Sensual, earthy love poems that formed the basis for the popular movie Il Postino, now in a beautiful gift book perfect for weddings, Valentine's Day, anniversaries, or just to say "I love you!"Charged with sensuality and passion, Pablo Neruda's love poems are the most celebrated of the Nobel Prize winner's oeuvre, captivating readers with earthbound images and reveling in a fiery reimagining of the world. Mostly written on the island paradise of Capri (the idyllic setting of the Oscar-winning movie Il Postino), Love Poems embraces the seascapes surrounding the poet and his love, Matilde Urrutia, their waves and shores saturated with a new, yearning eroticism

The first collection of poetry by Instagram sensation Atticus. Love Her Wild is a collection of new and beloved poems from the poet Atticus, who has captured the hearts and minds of hundreds of thousands of avid followers on his Instagram account @atticuspoetry, including superstars like Karlie Kloss and Shay Mitchell. Dubbed the "#1 poet to follow" by Teen Vogue and "the world's most tattoo-able" poet by Galore magazine, in Love Her Wild, Atticus captures what is both raw and relatable about the smallest and the grandest moments in life: the first glimpse of a new love in Paris, skinny dipping on a summer's night, the irrepressible exuberance of the female spirit, or drinking whiskey in the desert watching the rising sun. With honesty, poignancy, and romantic flare Atticus distills the most exhilarating highs and the heartbreaking lows of life and love into a few short lines, ensuring that his words will become etched in your mind-and will awaken your sense of adventure.

Poems of great loss and deep questioning, wringing beauty out of potential despair.

In the opening poem of Lost Gospels, Lorri Neilsen Glenn writes of Mahalia Jackson and Blind Willie Johnson:

… they sang, oh yes, they raised light from dark water, dug

diamonds out of the cold, cold ground….

In a sense this is what Neilsen Glenn herself achieves in this deeply moving third book: raising light from dark water. Her new collection confronts the deaths of dear friends and family members, returns to her prairie childhood and youth, and engages hard, hard questions of mortality, and of existence in a world fraught with suffering and violence (both global and domestic). Central is the poetic sequence “A Song for Simone”—a conversation between the poet and French mystical philosopher Simone Weil. Here is poetry reaching out to embrace a manner of being in the world that at once moves beyond the world and engages it fully. Lost Gospels confirms Neilsen Glenn as a poet of maturity, depth and power.

“…The twang of country music, the ripeness of ‘berry, leaf, fruit,’ the fierce clarity of Simone Weil’s philosophy—Lorri Neilsen Glenn’s poetry exhorts us to ‘Wake every chance you can.’ ‘Carry light,’ she says, and we do, reading her blazing words.” – Anne Simpson

an orientation of thought in thinking how a / thought begins and then travels on to arrive / at another place connected and like-minded A work of art is never entirely present in itself but rather is always at large in the mind of the viewer. So it is that a painting needs to know the simplest question those viewing it are asking themselves. From the intimate starting point of observer and observed, Carson's seductive, exhilarating new collection turns poetry and paintings, making and representation, language and thought on their heads. "What happens when we experience a work of art? The poems in Edward Carson's stunningly original collection explore the intricate patterns of communication and response that unfold when we look at paintings, respond to music, read poems. Rather than simply cataloguing the works' contents, Carson recreates their dynamics and takes us inside them. The wonderful phrase he applies to a Miró painting, 'a rhetoric / of exuberant spaces,' is descriptive of Look Here Look Away Look Again itself, and it is matched by a rhetoric of exuberant language that takes such supposedly unpoetic words as 'phenotype,' 'quantum,' or 'algorithm' and brings them to life. At the same time, Carson revitalizes that time-worn form, the sonnet sequence - for that is what this collection is, when you 'look again' - and weaves it together with recurrent twilit glimpses of birds, moon, and stars. Readers of Look Here Look Away Look Again will be looking in delight, again and again." John Reibetanz, award-winning poet, author of By Hand

Winner of the Pulitzer Prize: A gripping poetry collection mapping the thorny journey from madness to hope With her emotionally raw and deeply resonant third collection, Live or Die, Anne Sexton confirmed her place among the most celebrated poets of the twentieth century. Sexton described the volume, which depicts a fictionalized version of her struggle with mental illness, as "a fever chart for a bad case of melancholy." From the halls of a psychiatric hospital'"the scene of the disordered scenes" in "Flee on Your Donkey"'to a child's playroom'"a graveyard full of dolls" in "Those Times..."'these gripping poems offer profound insight on the agony of depression and the staggering acts of courage and faith required to emerge from its depths. Along with other confessional poets like Sylvia Plath and Robert Lowell, Sexton was known for grappling with intimate subjects traditionally considered taboo for poetry such as motherhood, menstruation, and drug dependence. Live or Die features these topics in candid and unflinching detail, as Sexton represents the full experience of being alive'and a woman'as few poets have before. Through bold images and startlingly precise language, Sexton explores the broad spectrum of human emotion ranging from desperate despair to unfettered hope.