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"A collection of poetry by Michael Earl Craig"--

Craig M: Iggy Horse

Iggy Horse

1 &nbsp;THE TRAIN&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;PREPARING FOR SLEEP&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE GHOSTS OF CASTLE OWLS PASTFIRMAMENTS&nbsp;&nbsp;SHELTER IN PLACEEND TIMES&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;PEP TALK TO SELF EATING SALAD AT AIRPORT&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE RETURN OF STANISLAUSCANDLESNUFFER&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;IT WAS ABOUT TO RAIN&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;PREPARING TO PAINT THE BODY OF THE DEAD CHRIST IN THE TOMBCUBES OF ICE CLINKING&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;DOCTOR FAUCI&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;CHOCOLATE SANTA&nbsp;&nbsp;&nbsp;SOMEWHERE OVER GREENLANDTHE SALESMAN HAD TWO BAGSUNDERFOOT&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2&nbsp;COWBOY &amp; PIRATEFIELD TRIP&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;AN ARM MOVING QUICKLY THROUGH A COAT SLEEVE LINED WITH TAFFETASPRINGTIME IN HORSE COUNTRY&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SPREZZATURAPORTRAIT OF THE WRITER MAX HERRMANN-NEISSEDRIVING HOME&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;CALF WORSHIP&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;CLOSING TIMETHE BED OF THE PHLEGMONSAINT FINBAR’S, BURBANK&nbsp;&nbsp;&nbsp;MARIKO AOKI PHENOMENON&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;RECOLLECTION&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE RED MITTEN&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;EVERYONE KNEW HER AS MARSHATHE HONEYMOON&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE BELL IN AN OAK&nbsp;&nbsp;&nbsp;3&nbsp;THE HALF-PACKED SUITCASEFIRST COW&nbsp;I WANTED TO SAYIT WAS TOO LATE&nbsp;CHEMISTRY&nbsp;DANCE FLOORSTANDING AT THE WINDOW&nbsp;IGGY HORSE&nbsp;WAITING&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I’M ASKING&nbsp;&nbsp;&nbsp;&nbsp;BEACH SOUNDS&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;POEM ATTEMPTING TO DESCRIBE AN EMOTIONAL CRISIS&nbsp;&nbsp;JEEPERS&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;THE WISHING WELL&nbsp;&nbsp;&nbsp;WALLACE STEVENS HESITATING BEFORE AN EVENING PLAYING BRIDGE&nbsp;&nbsp;&nbsp;&nbsp;WALKING ALONG THE TIBER

A scintillating debut meditating on love, parental addiction and loss, from a new voice in British poetry.

But & Though

A deft, musical debut poetry collection about the disabling effects of illness, rupture, and inheritance—informed both by Yoruba divinatory systems and violent Western medical understandings of the Black body.&nbsp;If I Gather Here and Shout summons Yoruba divinatory rituals into a hospital room. Incantatory verses accumulate alongside personal and historical “figures” of illness and death to illuminate the tensions between legibility and meaning-making that emerge when an ill Black body is processed through a Western medical context. With intimate knowledge of how ancestral memory aches and sings in the body, Funto Omojola invokes a lamenting chorus in the ceremony of survival.

If I Gather Here and Shout

Now in paperback! With over 60,000 hardcover copies in print, the astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselvesfrom U.S. Poet Laureate and MacArthur Fellow Ada Limón."I have always been too sensitive, a weeper / from a long line of weepers," writes Limón. "I am the hurting kind." What does it mean to be the hurting kind? To be sensitive not only to the world's pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings-and to know that those beings are resolutely their own, that they "do not / care to be seen as symbols"?With Limón's remarkable ability to trace thought, The Hurting Kind explores those questions-incorporating others' stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families.Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. "Slippery and waddle thieving my tomatoes still / green in the morning's shade," writes Limón of a groundhog in her garden, "she is doing what she can to survive.

Poems

The Hurting Kind

Nocturama

A series of poems that explores walking, writing, and making as divinatory practices.Documenting (and interrogating) the poet’s daily walks, Which Walks investigates the twin practices of walking and art-making while aging. Gender is also a central concern in this intensely feminist work. Moriarty’s book relates to the endlessly unfinished journeys of Nathaniel Mackey’s long poems, as well as to the dailiness of many writers from Charles Baudelaire to Robert Creeley. These poems are an extension of the author’s visual practice, which she is returning to after a fifty-year break. Here she succeeds in existing—even thriving—in today’s strange, often terrifying, world.

Which Walks

Little Passenger

"A tender and provocative collection of poems interrogating the troubles and wonders of both childhood and parenthood against the backdrop of global violence"--

The End of Childhood

"A collection of poems by Jim Harrison"--

The Theory and Practice of Rivers

Radiant poems from the bestselling author of Memphis

Magic Enuff

A bilingual anthology of poems from Palestine (2023-2024), You Must Live attests to existence in the face of suppression. Bearing witness to the realities of the Palestinian genocide, You Must Live is a bilingual anthology of recent poetry from Gaza and the West Bank. Translated from Arabic and edited by Tayseer Abu Odeh and Sherah Bloor, this collection gathers the voices of poets currently living in Palestinian territory, most of whom have never left. Yet the poems in You Must Live refuse to cast their speakers as perpetual victims. Diverse voices and styles shine throughout—powerful, prayerful, theatrical, and even humorous—as poets write love letters to the landscape, elegies for martyrs and homes, and proclamations for the future. Negotiating the interplay between aesthetics and politics, the individual and the collective, You Must Live sounds as an urgent call to the global community.

New Poetry from Palestine

You Must Live

The New Carthaginians

Foretokens

Iggy Horse

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