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  Songs from Fern's Pond -...

  Sheryl Pothier Harmer

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  Reminiscent of Mary Oliver’s A Thousand Mornings and Amanda Thomson’s Belonging, this evocative blend of poetry, prose, and personal letters unfurls a story of an untamed, beautiful place—and one woman’s choice to spend the last chapter of her life making it her home. 
  At age sixty-two, Fern started a new life. 
  Recently widowed, she found a piece of neglected acreage above the Snake River on which to build a home, forge a community—and find renewed purpose. On the land around Fern’s Pond, she nurtured a vineyard, an abundant garden, and a small farm of sheep, one cow, a goat, and chickens. She befriended wild ducks and harvested trout in her waters, and she used the materials that grew around the pond and springs to weave baskets—unique works of art that captured the elegance of the natural world. 
  Songs from Fern’s Pond is a collage of poetry, letters, and prose that captures the universal resilience of the human spirit through the humor and courage of a woman who fearlessly pursued the life she dreamed of. A duet of text between mother and daughter, it’s a transcendent vision of the rough, wild, and beautiful landscape of the heart—and a reminder that every chapter is worth living to its fullest.

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  Sukun - New and Selected Poems

  Kazim Ali

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  Kazim Ali is a poet, novelist, and essayist whose work explores themes of identity, migration, and the intersections of cultural and spiritual traditions. His poetry is known for its lyrical and expressive language, as well as its exploration of themes such as love, loss, and the search for meaning in a rapidly changing world. "Sukun" means serenity or calm, and a sukun is also a form of punctuation in Arabic orthography that denotes a pause over a consonant. This Sukun draws a generous selection from Kazim's six previous full-length collections, and includes 35 new poems. It allows us to trace Ali's passions and concerns, and take the measure of his art: the close attention to the spiritual and the visceral, and the deep language play that is both musical and plain spoken.[sample poem]The Fifth PlanetCome, early summer in the mountains, and come, strawberry moon,and carry me softly in the silver canoe on wires to the summit, where in that way of late night useless talk, the bright dark asks me, "What is the thing you are most afraid of?" and I already know which lie I will tell.There were six of us huddled there in the cold, leaning on the rockslingering in the dark where I do not like to linger, looking up at thesharp round pinnacle of light discussing what shapes we saw—rabbit,man, goddess—but that brightness for me was haunted by no thing,no shadow at all in the lumens.What am I, what am I, I kept throwing out to the hustling silence.No light comes from the moon, he's just got good positioning and I suppose that's the answer, that's what I'm most afraid of,that I'm a mirror, that I have no light of my own, that I hang in empty spacein faithful orbit around a god or fatherneither of Whom will ever see me whole. I keep squinting to try to see Jupiterwhich the newspaper said would be found near the moon but it's nowhere, they must have lied. Or like god, there is too muchreflection, headsplitting and profane, scraping up every shadow,too much light for anyone to see.

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  Scarlet Birthright - What They...

  Scarlet Ibis James

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  In Scarlet Birthright, a forbidden summer romance ignites on Trinidadian shores—then ripples across oceans, generations, and hearts. Narrators Le-Georgia Chambers and Richard Ragoobarsingh pull you into this lush, intoxicating world where one child’s fate binds a fractured family. Long-buried truths, stone-cold sacrifices, and a legacy of undeniable love collide in this riveting island saga. Press play, and let the music of hope, regret, and redemption sweep you away. You’ll listen, spellbound, until the very last word.

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  More Songs the Radio Won’t Play...

  Stan Rogal

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  Lyrical poetry inspired by popular songs, Rogal sweeps the reader through the journey of creation.
  		 
  In More Songs the Radio Won’t Play, Stan Rogal takes formerly “popular” tunes (from various genres) and transforms them. Self-referentiality; mashups of the erudite and profane; allusions to other arts and sciences; the insertion and bending of biographical and historical facts; problematic snippets of philosophy and literary theory, quotes, and bastardizations; deploying non- or a-political language to challenge notions of how a poem should work; sampling; and off-kilter humour work together to update Rogal’s playlist for a present-day audience.
  		 
  While his poems unavoidably serve to comment on the world today, Rogal resists a central message. The true emphasis of this collection is on the process of creation. It’s not the destination but the journey that is of significance. Not mere cover versions, not exactly parodies (though parodic), these poems are redactions, mutations, Frankenstein’s monsters … they resemble the original — somewhat — yet are also grossly different.

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  The Top 10 Poets – The English...

  William Shakespeare, John Keats,...

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  The language of Poetry is an art that most of us attempt at some point in our lives.  Although its commonplace exposure has been somewhat marginalised in today’s often fast-paced lives we all recognise good verse that can empathise with our thoughts or open us up to experience new things in new ways, to better understand and to enjoy the many strands of our lives. 
  But finding a starting point can be overwhelming, even off-putting, so in this series we offer up our Top 10 classic poets, who brim with talent and verse, on a range of subjects and themes that we can all enjoy. 
  At first glance, it’s easy to assemble.  But once you add those who simply have to be included then you already have too many and the perennially hard part of whittling them down to ten begins.  Each and every one of these chosen are masters of their art and craft.  Genius in every name.

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  Floodmeadow

  Toby Martinez de las Rivas

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  The Floodmeadow draws us into a seething pastoral where lightning threatens and thunder gathers, pylons and powerlines hum, and steel-framed gates sing out into the wind. In these incantatory pieces, everything is present at once. The landscape, teetering on apocalypse, is characterised by collision and disintegration. Among fragments of memory and history are meticulously journaled observations of the natural world: the moorhen who 'with exaggerated delicacy steps / free of the reedbeds'; the dragonfly that 'pushes itself through the armour / of its body' to be born.  The world is populated by archangels and wild gods, the roar of military aircraft, hunting dogs caught permanently suspended in the chase and a car that veers from the road into the floodwater in which the whole collection is saturated. Human relations are fleeting and vulnerable, appearing in the impression of a wedding or the recurring moments captured between a father and son, who make between them delicate balsawood constructions, which - as the poems do themselves - take flight in the turmoil, ecstatic one moment, plunged into darkness the next. This is a visionary collection that invokes other times, dimensions and soundscapes to tell out some word of beauty and abundance in the here and now.

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