'Psycho' meets 'Hotel California' horror in which a young couple are trapped, awaiting their fate. For young couple Amy and David Fox (Kate Beckinsale and Luke Wilson), a long day bickering in their car suddenly gets much worse when they break down in the middle of nowhere. Luckily for them they find a motel and settle down to watch some TV. Concern rises when they realise the 'snuff' movies the motel thoughtfully supply for their guests seem vaguely familiar. Discovering hidden cameras, they realise that they are about to star in the performance of their lives, or rather the end of it, unless they can somehow escape.

When Mark Doty decides to adopt a dog as a companion for his dying partner, he brings home Beau, a large, malnourished golden retriever in need of loving care. Joining Arden, the black retriever, to complete their family, Beau bounds back into life. Before long, the two dogs become Doty's intimate companions, and eventually the very life force that keeps him from abandoning all hope during the darkest days.

Dog Years is a poignant, intimate memoir interwoven with profound reflections on our feelings for animals and the lessons they teach us about living, love, and loss.

Mark Doty's "Fire to Fire" collects the best of his seven books of poetry, along with a generous selection of new work. His signature style encompasses both the plainspoken and the artfully wrought, as one of contemporary American poetry's most lauded, recognizable voices speaks to the crises and possibilities of our time.

Why do dogs speak so profoundly to our inner lives? When Mark Doty decides to adopt a dog as a companion for his dying partner, he finds himself bringing home Beau, a large golden retriever, malnourished and in need of loving care, to join Arden, the black retriever. As Beau bounds back to life, the two dogs become Mark Doty's companions, his solace, and eventually the very life force that keeps him from abandoning all hope during the darkest days - their tenacity, loyalty and love inspiring him when all else fails.

The poignant, accomplished new collection of poetry from the author of My Alexandria--1993 winner of the National Book Critics Circle Award, Los Angeles Times Book Award, 1993 National Book Award Finalist.

From Mark Doty, one of our finest poets, a delicate and sensual literary essay. Part memoir, part art history, part meditation, this hybrid volume uses the great Dutch still life paintings of the seventeenth century as a departure point for an examination of uestions about our relationships with things, how we invest them with human store, how they hold feeling and hope and history within them.
Mark Doty is author of five books of poems and two memoirs, Heaven's Coast and Firebird. He has also received the National Book Critics Circle Award and the PEN/Martha Allrand Prize for Nonfiction. He teaches at the University of Houston.

Mark Doty's poetry has long been celebrated for its risk and candour, an ability to find transcendent beauty even in the mundane and grievous, an unflinching eye that - as Philip Levine says - 'looks away from nothing'. In the poems of Deep Lane the stakes are higher: there is more to lose than ever before, and there is more for us to gain. 'Pure appetite,' he writes ironically early in the collection, 'I wouldn't know anything about that.' And the following poem answers: Down there the little star-nosed engine of desire at work all night, secretive: in the morning a new line running across the wet grass, near the surface, like a vein. Don't you wish the road of excess led to the palace of wisdom, wouldn't that be nice? Deep Lane is a book of descents: into the earth beneath the garden, into the dark substrata of a life. But these poems seek repair, finally, through the possibilities that sustain the speaker above ground: gardens and animals; the pleasure of seeing; the world tuned by the word. Time and again, an image of immolation and sacrifice is undercut by the fierce fortitude of nature: nature that is not just a solace but a potent antidote and cure. Ranging from agony to rapture, from great depths to hard-won heights, these are poems of grace and nobility.

Mark Doty has always felt haunted by Walt Whitman's bold, new American voice, and by his equally radical claims about body and soul and what it means to be a self. In What Is the Grass, Doty - a poet, a lover of men, a New Yorker, and an American - keeps company with Whitman and his mutable, landmark work, Leaves of Grass, tracing the resonances between his own experience and the legendary poet's life and work. What is it, then, between us? Whitman asks. Doty's answer is to explore spaces tied to Whitman's life and spaces where he finds the poet's ghost, meditating on desire, love, and the mysterious wellsprings of the poet's enduring work. How does a voice survive death? What Is the Grass is a conversation across time and space, a study of the astonishment one poet finds in the accomplishment of another, and an attempt to grasp Whitman's deeply hopeful vision of humanity.

How a writer moves perception to image to written world is at the heart of any literary work. Here, celebrated writer and poet Mark Doty closely examines this essential literary technique and how it varies from writer to writer. Drawing on the sensory experience found in the poems of Blake, Whitman, Bishop and others, Doty gives an insight into this essential craft. Written in clear chapter essays, his book is an invaluable resource for writers, students, critics and anyone with an interest in the art of literature.

Murano, a recent work by the distinguished American poet Mark Doty, is a contemplative meditation on human mortality and the mystery of artistic creation. Addressed to his late friend, the poet Lynda Hull, the musings in Murano are set against the backdrop of Venice and the glassmaker's art, as practiced for centuries on the island of Murano in the Venetian lagoon.
This moving poem is illustrated with details of sixteen pieces of dazzling Murano glass from the collection of the Getty Museum. These fine, delicate objects paired with Doty's stirring words create an exceptional visual and verbal experience.

This book explores diverse but complementary interdisciplinary approaches to the poetics, intertexts, and influence of the work of C. P. Cavafy (Konstantinos Kavafis), one of the most important twentieth-century European poets. Written by leading international scholars in a number of disciplines (critical theory, gender studies, comparative literature, English studies, Greek studies, anthropology, classics), the essays of this volume situate Cavafy s poetry within the broader contexts of modernism and aestheticism and investigate its complex and innovative responses to European literary traditions (from Greek antiquity to modernity) as well as its multifaceted impact on major figures of world literature from North America to South Africa.

Contributors include Eve Sedgwick, Helen Vendler, Dimitrios Yatromanolakis, Richard Dellamora, Mark Doty, James Faubion, Diana Haas, John Chioles, Edmund Keeley, Albert Henrichs, Kathleen Coleman, Gregory Nagy, Michael Paschalis, Peter Jeffreys, Diskin Clay, and Panagiotis Roilos.

With "School of the Arts," Mark Doty's darkly graceful seventh collection, the poet reinvents his own voice at midlife, finding his way through a troubled passage. At once witty and disconsolate -- formally inventive, acutely attentive, insistently alive -- this is a book of fierce vulnerability that explores the ways in which we are educated by the implacable powers of time and desire in a world that constantly renews itself.

This bold, wide-ranging collection -- his sixth book of poems -- demonstrates the unmistakable lyricism, fierce observation, and force of feeling that have made Mark Doty's poems special to readers on both sides of the Atlantic.

The poems in Source deepen Doty's exploration of the paradox of selfhood. They offer a complex, boldly colored self-portrait; their muscular lines argue fiercely with the fact of limit; they pulse with the drama of perception and the quest to forge meaning.

Mark Doty's last two award-winning collections of poetry, as well as his acclaimed memoir Heaven's Coast,  used the devastation of AIDS as a lens through which to consider questions of loss, love and identity. The poems in his new collection, Sweet Machine,  see the world from a new, hard-won perspective: A coming back to life, after so much death, a way of seeing the body's "sweet machine" not simply as a time bomb, but also as a vibrant, sensual, living thing. These poems are themselves "sweet machines"--lyrical, exuberant and joyous--and they mark yet another milestone in the extraordinary career of one of our most distinguished and accomplished poets.

In Firebird, Mark Doty tells the story of a ten-year-old in a top hat, cane, and red chiffon scarf, interrupted while belting out Judy Garland's "Get Happy" by his alarmed mother at the bedroom door, exclaiming, "Son, you're a boy!"

Firebird presents us with a heroic little boy who has quite enough worries without discovering that his dawning sexuality is the Wrong One. A self-confessed "chubby smart bookish sissy with glasses and a Southern accent," Doty grew up on the move, the family following his father's engineering work across America-from Tennessee to Arizona, Florida to California. A lyrical, heartbreaking comedy of one family's dissolution through the corrosive powers of alcohol, sorrow, and thwarted desire, Firebird is also a wry evocation of childhood's pleasures and terrors, a comic tour of American suburban life, and a testament to the transformative power of art.

The year is 1989 and Mark Doty's life has reached a state of enviable equilibrium. His reputation as a poet of formidable talent is growing, he enjoys his work as a college professor and, perhaps most importantly, he is deeply in love with his partner of many years, Wally Roberts. The harmonious existence these two men share is shattered, however, when they learn that Wally has tested positive for the HIV virus.

From diagnosis to the initial signs of deterioration to the heartbreaking hour when Wally is released from his body's ruined vessel, Heaven's Coast is an intimate chronicle of love, its hardships, and its innumerable gifts. We witness Doty's passage through the deepest phase of grief -- letting his lover go while keeping him firmly alive in memory and heart -- and, eventually beyond, to the slow reawakening of the possibilities of pleasure. Part memoir, part journal, part elegy for a life of rare communication and beauty, Heaven's Coast evinces the same stunning honesty, resplendent descriptive power and rapt attention to the physical landscape that has won Doty's poetry such attention and acclaim.

Even before the controversy that surrounded the publication of "A Million Little Pieces," the question of truth has been at the heart of memoir. From Elie Wiesel to Benjamin Wilkomirski to David Sedaris, the veracity of writers' claims has been suspect. In this fascinating and timely collection of essays, leading writers meditate on the subject of truth in literary nonfiction. As David Lazar writes in his introduction, "How do we verify? Do we care to? (Do we dare to eat the apple of knowledge and say it's true? Or is it a peach?) Do we choose to? Is it a subcategory of faith? How do you respond when someone says, 'This is really true'? Why do they choose to say it then?"
The past and the truth are slippery things, and the art of nonfiction writing requires the writer to shape as well as explore. In personal essays, meditations on the nature of memory, considerations of the genres of memoir, prose poetry, essay, fiction, and film, the contributors to this provocative collection attempt to find answers to the question of what truth in nonfiction means.
Contributors: John D'Agata, Mark Doty, Su Friedrich, Joanna Frueh, Ray Gonzalez, Vivian Gornick, Barbara Hammer, Kathryn Harrison, Marianne Hirsch, Wayne Koestenbaum, Leonard Kriegel, David Lazar, Alphonso Lingis, Paul Lisicky, Nancy Mairs, Nancy K. Miller, Judith Ortiz Cofer, Phyllis Rose, Oliver Sacks, David Shields, and Leo Spitzer