Caustically humorous and polemically compulsive, Trump Rant is a work of meticulous political portraiture: a deep-delving and epoch-spanning investigation into the nature of power in American life, made luminous by Agee's nuanced, exploratory understanding of authoritarian drift and thwarted democratic aspiration in a number of world-historical contexts, from Belfast to the Balkans to the formerly Confederate South. Free-roaming in its breadth of reference and tonal range, the Rant is at once viscerally personal and unsettlingly resonant, infused throughout with an almost hypnotic sense of scale, largesse, and historical moment. Already renowned as a poet of emotional delicacy and singular stylistic vision, Agee's hallmark gifts of writerly intimacy and ethical resolve are here expanded and reconfigured on a panoramic canvas - moving from a pared-back opening section to the accelerating pace and barrage-like linguistic assaults of the latter addenda. But for all its freewheeling furies, shifting emotional registers and Kubrick-like black humour, it remains a remarkably formal work, moored to the relentlessly dangerous drumbeat of Donald J. Trump. The result is a combination of long-form radicalism and eclectic satire, startingly unique in its blend of aphorism, acuity and epic cultural imagining. Composed chronologically for nearly four years (from early 2017 until Election Day 2020), Trump Rant is a triumph of artistic witness and denunciation; an urgent retort to a global culture of imperilled legal standards and depleted literary response; and an incisive model of enlightenment and outrage in a "post-truth" world being visibly darkened by its criminal shadows.

With lyric grace and meditative clarity, Phantom Gang offers a daring dissection of civilizational violence in a variety of contexts from the intimate atavisms and inequalities of Irish history to the insidious growth of the global Big Tech economy in the present day alongside deep, sensually delicate explorations of broken love and salvaged memories. Honouring the work of a range of writers and photographers, including John Clare (1793-1864), Martin Chambi (1891-1973), Bertolt Brecht (1898-1956), and Gerda Taro (1910-1937), these poems unsettle the boundaries between past and present, elegy and tribute, folkloric remembrance and political reportage, interweaving each with all to create a compelling vision of a world in motion and a consciousness alive to change - as spectral voices and still-living presences seep "into the open echo-chamber / of poetry", casting light on the inner and outer landscapes of the poet's life in time. Following his acclaimed first collection, The Buried Breath, O'Rourke here expands and enriches the thematic concerns of his early work to accommodate new forms of portraiture and moral questioning, while further honing the "clean-boned" music of his poetic style, lit always by a profound emotional charge. Phantom Gang confirms O'Rourke as a leading new voice in Irish poetry.

In setting the poets side by side, this volume also highlights the two main faith traditions of the West: Deane with his Roman Catholic background, rooted in the landscape of Mayo; and Harpur with his Protestant (Church of Ireland and Quaker) heritage, influenced by myth, medieval history and mystics. Their two approaches to everyday life and ultimate reality - including nature, saints and mystics, music, art, prayer, and issues of faith and doubt - combine to make a single volume full of lyrical beauty and powerful witness. In addition, an afterword consisting of an informal dialogue between the two poets complements in prose the themes their poems explore. This is a book to challenge, console, delight and make its readers think again about their own journeys through this "vale of soul-making".

Today's innovative poets no longer express their dissenting voice on the printed page but in the experimental realm of contemporary media, where holograms, video projections, and even biotechnology form the basis of a new syntax. Celebrated poet and artist Eduardo Kac's" Media Poetry" is the first anthology to document this radically new form, which is taking language beyond the confines of verse and into the non-linear world of digital interactivity and hyperlinkage.This unparalleled volume takes up all the exhilarating incarnations of media poetry, from real-time text generation and spatiotemporal discontinuities to immateriality and visual tempo, exploring the international group of revolutionary poets responsible for such innovations. By embracing the vast possibilities made available by new media, the artists featured in this anthology have become the poetic pioneers of the next millennium.

The book of peace that will open doors to new realities. Written in poetry form, short stories, a book of spells, bringing back old folk heroes Robin Hood and little Miss Riding Hood, along with shamans, angels, wizards and magicians. Questioning the way of life and its current state of affairs, whilst creating an opening for the reader to question their own mind and existence. The reader will be left with a personal choice as they enter a new future.

Yes, as my swift days near their goal,
’Tis all that I implore;
In life and death, a chainless soul,
With courage to endure.

In this new selection of Emily Brontë’s heart-rending poems, we uncover a soul unafraid to confront mortality, tragedy and the wild cruelty – and beauty – of nature. These verses capture her profound passion and indomitable spirit, plumbing the depths of the human heart and revealing the raw power of Brontë’s poetic genius.

Here are Sappho's songs and poems as English poems, all her famous pieces, all the fragments that can make connected sense, and all the discoveries of 2004 and 2014. These translations set out to be good English poetry first and foremost, and succeed well beyond other current versions. They have been made directly from Sappho's Greek, by a poet with three collections to his credit, and are relatively close to the Greek. Each piece has a concise footnote that explains references and allusions, and suggests critical appreciation. A substantial Afterword says much more about Sappho's themes, her art and style, and her historical setting. Sappho is one of the greatest poets of the western world. She lived on the Greek island of Lesbos around 600 BCE, near the very beginning of western literature, and composed 300 or so poems and songs. Her poems create a woman-centred world in which women and relationships are highly valued, a world of beauty and grace, love and loss, sandals and hairbands, all sometimes exalted and idealised. She opposes women's values to those of the dominant male society around her, and is the first to do this in the western canon. She was famous in her lifetime and has been deeply admired ever since.

The poetry of Michelangelo offers an insight into one of the greatest artists of all time, and is a notable literary achievement in its own right. This text lays out the broad chronological evolution of the poems and clarifies both their meaning and the verbal artistry that shaped their construction. The poetry is always quoted in Italian and in translation.

We Will be Shelter, edited by poet and activist Andrea Gibson, is an anthology of contemporary poems that addresses issues of social justice. Unique to this anthology is its focus on creating positive social change through gorgeous, gusty poetry. Alongside and embedded in featured poems are concrete ways to address social and political issues raised. The goal of We Will be Shelter is to raise awareness, encourage critical self-reflection, and call readers to action.

Jaco Barnard-Naudé se digdebuut betrek ’n wye verskeidenheid temas: queer identiteit, die trauma van kinderjare, en die verhouding tussen ouers en seun. Deurgaans vloei die digterlike geheue soos ’n leitmotiv deur die verse. Die bundel getuig van ’n soepel en gespierde taalaanvoeling, en tree dikwels in gesprek met ander digters, filosowe en musici. ’n Diep-gelade emosionele bewussyn vibreer regdeur die bundel – getuienis van ’n uitsonderlike nuwe digter-denker ter plaatse.

André le Roux se tweede digbundel verskyn 47 jaar ná sy debuut, Struisbaai-blues, wat kort ná publikasie in 1977 verbied is. Nou skryf hy met selfs skerper eerlikheid oor die liefde, begeerte, verlange en vreugde. Meer nog: oor die afslyt van die liggaam en die insig wat leefervaring bring. Hy tree in gesprek met mededigters soos Krog, Breytenbach, Bukowski, Van Wyk Louw, Cohen, cummings en Neruda, en steek kers op by die Oosterse meesters.

Le Roux se verse spreek van universele menslikheid en deernis, met bytende humor en selfspot. Hy verken ’n landskap van verval en vervreemding – nie sonder verset nie.

In Prins word die kompleksiteit van manlikheid ontleed; die oomblikke van teerheid word gevier en die vernietigende word gekritiseer. Alhoewel die bundel handel oor stories en karakters uit ’n bepaalde gemeenskap en agtergrond, skryf Pedro doelbewus weg van vooropgestelde idees oor coloured-laities. Hier, weerspieël dit die liminale, plofbare ruimte waarin die verteller homself bevind as digter en as coloured man.

’n Toeganklike, innemende bundel waarin die digter in soepel, gevoelige taal sy persoonlike ervarings verwoord én in gesprek tree met digters wat hom voorafgegaan het. Die verse skroom nie om eerlik én openhartig om te gaan met sowel diep persoonlike belewenisse of maatskaplike en politieke kwessies nie, en telkens te verras met vernuwende perspektiewe. Water dien deurgaans as ’n metafoor vir vloei, verandering en aanpasbaarheid – die noodsaaklike element vir lewe in ’n digterlike heelal.