Jane Gentry (1941--2014) possessed an uncanny ability to spin quietly expansive and wise verses from small details, objects, and remembered moments. The hallmarks of her work are insight into nature, faith, the quotidian, and -- perhaps most prominently -- the grounding of her home and family in the state of Kentucky. This innovative poet and critic was for many years one of the animating spirits of literary life in the region. Gentry and her daughters collaborated with editor Julia Johnson to organize this definitive collection. The result is an important literary anthology that assembles Gentry's most celebrated poems alongside new, previously unpublished works. Johnson uses Gentry's own methodology to arrange the poems in sequences comparable to those found in her previous collections. This organization showcases the range of the poet's work and the flexibility of her style, which is sometimes ironic and humorous; sometimes poignant; but always clear, intelligent, and revelatory.This volume includes two full-length collections of poetry in their entirety -- A Garden in Kentucky and Portrait of the Artist as a White Pig. The final section features Gentry's unpublished work, bringing together her early poems, verses written for loved ones, and a large group of more recent work that may have been intended for future collections. Alternately startling and heart-wrenching, The New and Collected Poems of Jane Gentry offers a valuable retrospective of the celebrated poet's work.

In To See the Earth Before the End of the World, Ed Roberson presents us with 120 new poems, each speaking in his unique voice and seen through his unique eye. Earth and sky, neighborhood life and ancient myths, the art of seeing and the architecture of the imagination are all among the subjects of these poems. Recurring images and ideas construct a complex picture of our world, ourselves, and the manifold connections tying them together. The poems raise large questions about the natural world and our place in it, and they do not flinch from facing up to those questions. Roberson’s poems range widely through different scales of time and space, invoking along the way history and myth, galaxies and garbage trucks, teapots and the history of photography, mating cranes and Chicago's political machine. This collection is composed of five sequences, each developing a particular constellation of images and ideas related to the vision of the whole. Various journeys become one journey—an epic journey, invoking epic themes. There are songs of creation, pictures of the sorrows of war, celebrations of human labor and human society, a respect for tools and domestic utensils that are well made, the deep background of the past tingeing the colors of the present, and the tragic tones of endings and laments, a pervading awareness of the tears in things. Most of all, there is the exhilaration of a grand, sweeping vision that enlarges our world.

First published in 1923, just before César Vallejo left Peru for France, Scales combines prose poems with short stories in a collection that exhibits all the exuberance of the author’s early experimentalism. A follow-up to Vallejo’s better-known work, Trilce, this radical collection shattered many aesthetic notions prevailing in Latin America and Europe. Intermingling romantic, symbolist, and avant-garde traditions, Scales is a poetic upending of prose narrative that blends Vallejo’s intercontinental literary awareness with his commitment to political transformation. Written in part from Trujillo Central Jail, where Vallejo would endure some of the most terrifying moments of his life, Scales is also a testament of anguish and desperation, a series of meditations on justice and freedom, an exploration of the fantastic, and a confrontation with the threat of madness. Edited and translated from the Castilian by the scholar Joseph Mulligan, this first complete English translation, published here in bilingual format and accompanied by extensive archival documentation related to Vallejo’s incarceration, this volume gives unprecedented access to one of the most inventive practitioners of Latin American literature in the twentieth century.

Gina Athena Ulysse’s Because When God Is Too Busy: Haïti, me, & THE WORLD is a lyrically vivid meditative journey that is unapologetic in its determination to name, embrace and reclaim a revolutionary Blackness that has been historically stigmatized and denied. Crafting experiments with “ethnographic collectibles” of word, performative sounds, and imagery to blur genres and the lines between the geopolitical and the personal, this collection is a testament to postcolonial inheritances. Ulysse’s work remixes samples from a range of references as it beckons readers to bear witness to a coming of age as she shifts between time and place and plays with languages to stretch the margins of aesthetics in the academic. These poems, performance texts, and photographs gather fractured memories—longings laced with Vodou chants confronting a past that looms too largely in the present. Because When God Is Too Busy searches for humility while honoring sacred and ancestral imperatives to recognize and salute power beyond Western attachments to reason.

Planetary Noise: Selected Poetry of Erín Moure gathers four decades of poetry from a celebrated Canadian poet and translator who has persistently reconfigured the linguistic and material relations of English. Moure’s poems and networked sequences are hybrid and often polylingual; they work with contradiction, paradox, and verbal detritus— linguistic hics and blips often too quickly dismissed as noise—to create new conditions for thought and pleasure. From postdramatic theatre to queer and feminist theory, from the politics of citizenship and genocide to the minutiae of digital poetics, from the clamor of love to the shadows of grief and memory, Moure has joyously toppled hierarchies of meaning and parasited dominant discourses to create poetry that crosses borders, embracing hope, not war. This volume, edited by poet and literary scholar Shannon Maguire, also features an extensive introduction to Moure’s poetry, a section of poetry by others translated by Moure, and an afterword on translation by the poet. An online reader’s companion is available at XXXX.site.wesleyan.edu.

In this fourth book in a series of award-winning survival narratives, Dungy writes positioned at a fulcrum, bringing a new life into the world even as her elders are passing on. In a time of massive environmental degradation, violence and abuse of power, a world in which we all must survive, these poems resonate within and beyond the scope of the human realms, delicately balancing between conflicting loci of attention. Dwelling between vibrancy and its opposite, Dungy writes in a single poem about a mother, a daughter, Smokin’ Joe Frazier, brittle stars, giant boulders, and a dead blue whale. These poems are written in the face of despair to hold an impossible love and a commitment to hope.

A honeycomb long vacated by honeybees still possesses an "echo of the swarm, / a lingering song ." Living things are made and make themselves: "My bones came first. / Like long needles, / they knitted muscle / and tendon / and tissue and skin. / Filled themselves / with marrow."In her debut collection, Brianna Noll fuses the scientific and fantastic, posing probing questions that explore the paradoxes of experience. Interweaving themes of creation, art, and nature, the poet gives voice to animate and inanimate figures such as woolly mammoths, star-nosed moles, cells, mylar balloons, and puzzle boxes. Her vivid poems obscure the line between what is literal and what is figurative. The result is alchemic and ethereal -- each verse intricately layered with sharp observation as well as emotional and intellectual exploration and questioning.Collectively, the poems draw significantly on Japanese culture and language in their imagery, with cultural nuances and implications embedded in words and expressions. They tend to be tied, not to subjects, but to ways of seeing and considering the world. Noll's lyrical voice reflects a curious and imaginative approach that results in tight poems, typically enjambed, which build together into a thoughtful collection. Her work offers ways of seeing and considering the world that exceed our lived experience, begging the reader to consider how far we are willing to go when faced with roadblocks, doubts, and uncertainties.

BAX 2016: Best American Experimental Writing is the third volume of this annual literary anthology compiling the best experimental writing in poetry, fiction, and creative nonfiction. This year’s volume, guest-edited by Charles Bernstein and Tracie Morris, features seventy-five works by some of the most exciting American poets and writers today, including established authors—like Sina Queyras, Tan Lin, Christian Bök, Myung Mi Kim, Juliana Spahr, Samuel R. Delany, and even Barack Obama—as well as emerging voices. Intended to provoke lively conversation and debate, Best American Experimental Writing is an ideal literary anthology for contemporary classroom settings.

Entanglements is the product of a years-long interest in science, particularly physics by Pulitzer Prize winning poet, Rae Armantrout. The collection includes poems from her previous books, as well as four new poems. Armantrout delved into books intended to make science accessible for the average person, as well as engaged in conversations with physicists. The title is inspired by the way particles can become so entangled that any space between them becomes irrelevant, but also by the way in which the author’s daily life became entangled with the exploration of physics.

In Jackknife: New and Selected Poems, Beatty travels the turns and collisions of over twenty years of work. She moves from first-person narratives to poems that straddle the page in fragments, to lines that sprawl with long lines of train tracks. Always landing in meaning, we are inside the body—not in a confessional voice, not autobiography—but arriving through the expanded, exploded image of many stories and genders. The new poems leap imagistically from the known world to the purely imagined, as in the voice in "Abortion with Gun Barrel": "I am the counselor,/there are cracks in the barrel of the gun/there is aiming/shots of sorrow—/ shots of light." Commitment to a rabid feminist voice continues, but arrival has a new ring to it, with beginnings rescripted: "I am a bastard./I walk around in this body of mine." Beatty's fascination with the highway and the breakout West jackknifes at the crossroads of the brutal and the white plains of loss—the body torn down and resurrected in the twenty first century.

"One marvels at the force of seeing in Schwartz's No Way Out But Through and cannot help but feel a particular gratitude for her abundant humor. Go all in with these poems; you'll reap unknown rewards. She possesses a quick-witted imagination that sanctifies memories and makes room for the wondrous nature of our cosmopolitan lights. " —Major Jackson

What is it like living today in the chaos of a city that is at once brutal and beautiful, heir to immigrant ancestors "who supposed their children's children would be rich and free?" What is it to live in the chaos of a world driven by "intolerable, unquenchable human desire?" How do we cope with all the wars? In the midst of the dark matter and dark energy of the universe, do we know what train we're on? In this cornucopia of a book, Ostriker finds herself immersed in phenomena ranging from a first snowfall in New York City to the Tibetan diaspora, asking questions that have no reply, writing poems in which "the arrow may be blown off course by storm and returned by miracle."

For the Scribe, the ninth collection by award-winning poet David Wojahn, continues his explorations of the interstices between the public and the private, the historical and the personal. Poems of recollection and elegy commingle and conjoin with poems which address larger matters of historical and ecological import. The subjects of extinction and apocalypse figure prominently and obsessively in these pages, both in short lyrics and in several lengthy sequences. The poems also evidence the mastery of technique for which Wojahn is renowned, whether he is writing in fixed forms or in free verse. For the Scribe is the most ambitious and searching collection thus far from a poet who has been a named finalist for the Pulitzer Prize in poetry, winner of the Lenore Marshall Prize from the Academy of American Poets, the O. B. Hardison Award from the Folger Shakespeare Library, and the William Carlos Williams Book Award.

When her "smart" phone keeps asking her to autocorrect her name to Denise Richards, Denise Duhamel begins a journey that takes on celebrity, sex, reproduction, and religion with her characteristic wit and insight. The poems in Scald engage feminism in two ways—committing to and battling with—various principles and beliefs. Duhamel wrestles with foremothers and visionaries Shulamith Firestone, Andrea Dworkin, and Mary Daly as well as with pop culture figures such as Helen Reddy, Cyndi Lauper, and Bikini Kill. In dialogue with artists and writers such as Catherine Opie, Susan Faludi, and Eve Ensler, Duhamel tries to understand our cultural moment. While Duhamel's Scald can burn, she has more importantly taken on the role of the ancient Scandinavian "Skald," one who pays tribute to heroic deeds. In Duhamel's case, her heroes are also heroines.

Past Praise for Mother Quiet: "The aim of poetry (and the higher kind of thriller) is to be unexpected and memorable. So a poem about death might treat it in a way that combines the bizarre and the banal: the Other Side as some kind of institution—a creepy hospital, an officious hotel or retirement home. Martha Rhodes takes such an approach in 'Ambassadors to the Dead,' from her abrupt, unsettling, artfully distorted, indelible new book Mother Quiet. Blending the matter-of-fact with the surreal, as a way of comprehending the stunning, final reality, Rhodes is an inheritor of Emily Dickinson's many poems on the same subject." —Robert Pinsky, Washington Post

Acclaimed poet Shane McCrae’s latest collection is a book about freedom told through stories of captivity. Historical persona poems and a prose memoir at the center of the book address the illusory freedom of both black and white Americans. In the book’s three sequences, McCrae explores the role mass entertainment plays in oppression, he confronts the myth that freedom can be based upon the power to dominate others, and, in poems about the mixed-race child adopted by Jefferson Davis in the last year of the Civil War, he interrogates the infrequently examined connections between racism and love. A reader’s companion is available at XXXX.site.wesleyan.edu.