Also A Poet

The definitive biography of Frank O’Hara, one of the greatest American poets of the twentieth century, the magnetic literary figure at the center of New York’s cultural life during the 1950s and 1960s. City Poet captures the excitement and promise of mid-twentieth-century New York in the years when it became the epicenter of the art world, and illuminates the poet and artist at its heart. Brad Gooch traces Frank O’Hara’s life from his parochial Catholic childhood to World War II, through his years at Harvard and New York. He brilliantly portrays O’Hara in in his element, surrounded by a circle of writers and artists who would transform America’s cultural landscape: Willem de Kooning, Franz Kline, Helen Frankenthaler, Jackson Pollock, Gregory Corso, Jack Kerouac, Allen Ginsberg, LeRoi Jones, and John Ashbery. Gooch brings into focus the artistry and influence of a life “of guts and wit and style and passion” (Luc Sante) that was tragically abbreviated in 1966 when O’Hara, just forty and at the height of his creativity, was hit and killed by a jeep on the beach at Fire Island—a death that marked the end of an exceptional career and a remarkable era. City Poet is illustrated with 55 black and white photographs.

Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.

After her mother dies in 1975, ten-year-old Lemonade must live with her grandfather in a small town famous for Bigfoot sitings and soon becomes friends with Tobin, a quirky Bigfoot investigator.

A PASSIONATE, PAGE-TURNING TALE OF COERCIVE CONTROL AND FEMALE SOLIDARITY, FOR FANS OF THREE WOMEN AND ACTS OF DESPERATION. 'This is the book I have always needed, it is F*****G BRILLIANT and everyone should read it' Nikita Gill 'A beautiful, biting page-turner' Irish Times ********** I believe every word you say. That was always my mistake. Bright, promising Emma is entangled in a toxic romance with her old professor - and she's losing control. Cruel, charming Tom is idolized by his students and peers - confident he holds all the cards. In their small Oxford home, he manipulates and undermines her every thought and act. Soon, he will push her to the limit and she must decide: to remain quiet and submit, or to take her revenge. Written in verse and charged with passion and anger, The Poet is a portrait of a deeply dysfunctional relationship, exploring coercive control, class and privilege. It is also a page-turning tale of female solidarity and survival. 'Brisk, disturbing and very satisfying' Daily Mail

What our tendency to justify the mistakes in poems reveals about our faith in poetry—and about how we read Keats mixed up Cortez and Balboa. Heaney misremembered the name of one of Wordsworth's lakes. Poetry—even by the greats—is rife with mistakes. In The Poet's Mistake, critic and poet Erica McAlpine gathers together for the first time numerous instances of these errors, from well-known historical gaffes to never-before-noticed grammatical incongruities, misspellings, and solecisms. But unlike the many critics and other readers who consider such errors felicitous or essential to the work itself, she makes a compelling case for calling a mistake a mistake, arguing that denying the possibility of error does a disservice to poets and their poems. Tracing the temptation to justify poets' errors from Aristotle through Freud, McAlpine demonstrates that the study of poetry's mistakes is also a study of critical attitudes toward mistakes, which are usually too generous—and often at the expense of the poet's intentions. Through remarkable close readings of Wordsworth, Keats, Browning, Clare, Dickinson, Crane, Bishop, Heaney, Ashbery, and others, The Poet's Mistake shows that errors are an inevitable part of poetry's making and that our responses to them reveal a great deal about our faith in poetry—and about how we read.

The acclaimed author explores the hidden crises of Gen X women in this “engaging hybrid of first-person confession, reportage [and] pop culture analysis” (The New Republic). Ada Calhoun was married with children and a good career—and yet she was miserable. She thought she had no right to complain until she realized how many other Generation X women felt the same way. What could be behind this troubling trend? To find out, Calhoun delved into housing costs, HR trends, credit card debt averages, and divorce data. At every turn, she saw that Gen X women were facing new problems as they entered middle age—problems that were being largely overlooked. Calhoun spoke with women across America who were part of the generation raised to “have it all.” She found that most were exhausted, terrified about money, under-employed, and overwhelmed. And instead of being heard, they were being told to lean in, take “me-time,” or make a chore chart to get their lives and homes in order. In Why We Can’t Sleep, Calhoun opens up the cultural and political contexts of Gen X’s predicament. She offers practical advice on how to ourselves out of the abyss—and keep the next generation of women from falling in. The result is reassuring, empowering, and essential reading for all middle-aged women, and anyone who hopes to understand them.

From Griffin Poetry Prize winner Jordan Abel comes a groundbreaking, deeply personal, and devastating autobiographical meditation that attempts to address the complicated legacies of Canada's residential school system and contemporary Indigenous existence. As a Nisga'a writer, Jordan Abel often finds himself in a position where he is asked to explain his relationship to Nisga'a language, Nisga'a community, and Nisga'a cultural knowledge. However, as an intergenerational survivor of residential school--both of his grandparents attended the same residential school--his relationship to his own Indigenous identity is complicated to say the least. NISHGA explores those complications and is invested in understanding how the colonial violence originating at the Coqualeetza Indian Residential School impacted his grandparents' generation, then his father's generation, and ultimately his own. The project is rooted in a desire to illuminate the realities of intergenerational survivors of residential school, but sheds light on Indigenous experiences that may not seem to be immediately (or inherently) Indigenous. Drawing on autobiography and a series of interconnected documents (including pieces of memoir, transcriptions of talks, and photography), NISHGA is a book about confronting difficult truths and it is about how both Indigenous and non-Indigenous peoples engage with a history of colonial violence that is quite often rendered invisible.

Winner of the National Book Award for Young People’s Literature, the Michael L. Printz Award, and the Pura Belpré Award! Fans of Jacqueline Woodson, Meg Medina, and Jason Reynolds will fall hard for this astonishing New York Times-bestselling novel-in-verse by an award-winning slam poet, about an Afro-Latina heroine who tells her story with blazing words and powerful truth. Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking. But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers—especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. With Mami’s determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So when she is invited to join her school’s slam poetry club, she doesn’t know how she could ever attend without her mami finding out. But she still can’t stop thinking about performing her poems. Because in the face of a world that may not want to hear her, Xiomara refuses to be silent. “Crackles with energy and snaps with authenticity and voice.” —Justina Ireland, author of Dread Nation “An incredibly potent debut.” —Jason Reynolds, author of the National Book Award Finalist Ghost “Acevedo has amplified the voices of girls en el barrio who are equal parts goddess, saint, warrior, and hero.” —Ibi Zoboi, author of American Street This young adult novel, a selection of the Schomburg Center's Black Liberation Reading List, is an excellent choice for accelerated tween readers in grades 6 to 8. Plus don't miss Elizabeth Acevedo's With the Fire on High and Clap When You Land!