This anthology of contemporary American poetry, short fiction, and nonfiction, explores issues of identity, oppression, injustice, and social change. Living American writers produced each piece between 1980 and the present; works were selected based on literary merit and the manner in which they address one or more pressing social issues. William Reichard has assembled some of the most respected literary artists of our time, asking whose voices are ascendant, whose silenced, and why. The work as a whole reveals shifting perspectives and the changing role of writing in the social justice arena over the last few decades.

This anthology features poems by Mark Doty, Ross Gay, Donald Hall, Marie Howe, Naomi Shihab Nye and many others. These poets, from all walks of life, and from all over America, prove to us the possibility of creating in our lives what Dr. Martin Luther King called the "beloved community," a place where we see each other as the neighbors we already are. Healing the Divide urges us, at this fraught political time, to move past the negativity that often fills the airwaves, and to embrace the ordinary moments of kindness and connection that fill our days.

For Valentine's Day 1986, Ted Kooser wrote "Pocket Poem" and sent the tender, thoughtful composition to fifty women friends, starting an annual tradition that would persist for the next twenty-one years. Printed on postcards, the poems were mailed to a list of recipients that eventually grew to more than 2,500 women all over the United States. "Valentines" collects Kooser's twenty-two years of Valentine's Day poems, complemented with illustrations by Robert Hanna and a new poem appearing for the first time. Kooser's valentine poems encompass all the facets of the holiday: the traditional hearts and candy, the brilliance and purity of love, the quiet beauty of friendship, and the bittersweetness of longing. Some of the poems use the word "valentine," others do not, but there is never any doubt as to the purpose of Kooser's creations.

Seventy lighthearted poems, selected for both popularity and literary quality, cover a wide range of subjects: books, words, imagination, the beauty of the natural world, travel, adventure, play, and, of course, love and friendship. Features an incredible array of poets, from Lewis Carroll and Ernest Lawrence Thayer to Shel Silverstein and Ogden Nash.

This anthology of contemporary American poetry, short fiction, and nonfiction, explores issues of identity, oppression, injustice, and social change. Living American writers produced each piece between 1980 and the present; works were selected based on literary merit and the manner in which they address one or more pressing social issues.

William Reichard has assembled some of the most respected literary artists of our time, asking whose voices are ascendant, whose silenced, and why. The work as a whole reveals shifting perspectives and the changing role of writing in the social justice arena over the last few decades.

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Ted Kooser describes with exquisite detail and humor the place he calls home in the rolling hills of southeastern Nebraska-an area known as the Bohemian Alps. Nothing is too big or too small for his attention. Memories of his grandmother's cooking are juxtaposed with reflections about the old-fashioned outhouse on his property. When casting his eye on social progress, Kooser reminds us that the closing of local schools, thoughtless county weed control, and irresponsible housing development destroy more than just the view. In the end, what makes life meaningful for Kooser are the ways in which his neighbors care for one another and how an afternoon walking with an old dog, or baking a pie, or decorating the house for Christmas can summon memories of his Iowa childhood. This writer is a seer in the truest sense of the word, discovering the extraordinary within the ordinary, the deep beneath the shallow, the abiding wisdom in the pithy Bohemian proverbs that are woven into his essays.

The poems in Produce Wagon explore the vast and varied circumstances of the human experience. Roy Scheele delves into his love for his wife in "Remembrances," the opening poem from his first chapbook, and "Driving after Dark"; his fascination with the natural world in poems such as "How the Fox Got Away" and "Late Autumn Woods"; his appreciation of his family in "A Kitchen Memory" and "The Long Rise"; and his fondness for stories in "The Carny Circuit" and "In the Clear." In these and the other poems in the collection, Scheele uses a variety of traditional verse forms as well as free verse and syllabics, carefully fitting the form of each poem to his subject matter. Though most of the poems are set in Nebraska and neighboring states, there is a universality to the subjects Scheele addresses. In these poems anywhere is everywhere.

Here are twenty classroom-tested exercises that really work, written and used by some of America's best teachers and writers of poetry. Meant for the student and teacher alike, Mapping the Line is also meant for those who have never been in a poetry writing class but have, perhaps, been writing on their own or have been wanting to. This collection is a good place to begin, and to continue.

Magazine. Poetry. Fiction. Literary Nonfiction. Art. ABLE MUSE WINTER 2012 continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the ABLE MUSE--online and in print. After more than a decade of online publishing excellence, the print edition of ABLE MUSE maintains the superlative standard of the work presented all these years in the online edition and the ABLE MUSE ANTHOLOGY (Able Muse Press, 2010).

Recently appointed as the new U. S. Poet Laureate, Ted Kooser has been writing and publishing poetry for more than forty years. In the pages of "The Poetry Home Repair Manual," Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets--aspiring or practicing--can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry's ultimate purpose: to reach other people and touch their hearts. Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend--a friend who is willing to share everything he's learned about the art he's spent a lifetime learning to execute so well.

Like the yellow, pink, and blue irises that had been transplanted from house to house over the years, the stories of poet Ted Kooser's family had been handed down until, as his mother lay ill and dying, he felt an urgency to write them down. With a poet's eye for detail, Kooser captures the beauty of the landscape and the vibrancy of his mother's Iowa family, the Mosers, in precise, evocative language. The center of the family's love is Kooser's uncle, Elvy, a victim of cerebral palsy. Elvy's joys are fishing, playing pinochle, and drinking soda from the ice chest at his father's roadside Standard Oil station. Kooser's grandparents, their kin, and the activities and pleasures of this extended family spin out and around the armature of Elvy's blessed life. Kooser has said that writing this book was the most important work he has ever undertaken because it was his attempt to keep these beloved people alive against the relentless erosion of time.

At once wistful and exhilarating, this lyrical story evokes the inexorable passage of time - and the awe-inspiring power of nature to lift us up.

Sometimes setting pen to paper requires bravery, and writing well means breaking free of the rules learned in school. Liberating and emboldening the beginning writer are the goals of Ted Kooser and Steve Cox in this spirited book of practical wisdom that brings to bear decades of invaluable experience in writing, teaching, editing, and publishing.

Unlike "how to write" books that dwell on the angst and the agony of the trade, "Writing Brave and Free" is upbeat and accessible. The focus here is the work itself: how to get started and how to keep going, and never is heard a discouraging word such as "no," "not," or "never." Because of the wealth of their experience, the authors can offer the sort of practical publishing advice that novices need and yet rarely find. Organized in brief, user-friendly chapters--on everything from sensory details to a work environment, from creating suspense to revising and taking criticism--the book allows aspiring (and practicing) writers to dip in anywhere and find something of value.

Named U.S. Poet Laureate for 2004-2006, Ted Kooser is one of America's masters of the short metaphorical poem. Dana Gioia has remarked that Kooser has written more perfect poems than any poet of his generation. In Flying at Night: Poems 1965-1985, Kooser has selected poems from two of his earlier works, Sure Signs and One World at a Time (1985). Taken together or read one at a time, these poems clearly show why William Cole, writing in the Saturday Review, called Ted Kooser "a wonderful poet," and why Peter Stitt, writing in the Georgia Review, proclaimed him "a skilled and cunning writer. . . . An authentic 'poet of the American people.'"

'Weather Central, Ted Kooser's latest book, reinforces his title as poet laureate of Nebraska, whether the governor has gotten around to making the appointment or not...His poems have the beauty and wisdom of something closely tied to the soil...perfect combinations of imagery and music, American poetry, the real thing.'--Reagen Upshaw, The Bloomsbury Review

Joyce Sutphen’s evocations of life on a small farm, coming of age in the late 1960s, and traveling and searching for balance in a very modern world are both deeply personal and familiar. Readers from Maine to Minnesota and beyond will recognize themselves, their parents, aunts and uncles, and neighbors in these poems, which move us from delight in keen description toward something like wisdom or solace in the things of this world. In addition to poems selected from the last twenty-five years, Carrying Water to the Field includes more than forty new poems on the themes of luck, hard work, and the ravages of time—erasures that Sutphen attempts to ameliorate with her careful attention to language and lyrical precision.   

Gerald Costanzo, long known as one of the best contemporary poets of satire, focuses specifically on American themes that, though presented as parables, fables, jokes, and put-ons, remain darkly serious in tone. His subject is the mythic landscape of America itself: the transitory, popular, consumer culture of late twentieth- and early twenty-first-century life. Costanzo evokes a sense of having arrived on the scene too late, of having missed the heyday of American innocence and possibility, and now-in the present-is forced to live with diminished experience. He mourns a culture where genuine emotion cannot be found but where its semblance can be endlessly marketed. Regular Haunts is a retrospective collection of Costanzo's work that also includes nearly thirty new poems.

Ted Kooser sees a writer's workbooks as the stepping-stones on which a poet makes his way across the stream of experience toward a poem. Because those wobbly stones are only inches above the quotidian rush, what's jotted there has an immediacy that is intimate and close to life.

Kooser, winner of the Pultizer Prize and a former U.S. poet laureate, has filled scores of workbooks. "The Wheeling Year" offers a sequence of contemplative prose observations about nature, place, and time arranged according to the calendar year.

Written by one of America's most beloved poets, this book is published in the year in which Kooser turns seventy-five, with sixty years of workbooks stretching behind him.

"Poems dipped out of the air" describes the manner in which Ted Kooser composed the poems in Cotton Candy, the result of his daily routine of getting up long before dawn, sitting with coffee, pen, and notebook, and writing whatever drifts into his mind. Whether those words and images are serious or just plain silly, Kooser tries not to censor himself. His objective is to catch whatever comes to him, to snatch it out of the air in words, rhythms, and cadences, the way a cotton candy vendor dips an airy puff out of a cloud of spun sugar and hands it to his customer. Poems written in fun and now shared with the reader, Kooser's playful and magical confections charm and delight.

In this captivating collection of poetry, celebrated poets Ted Kooser and Connie Wanek, along with illustrator Richard Jones, explore the wonders of nature in a spirited and magical way - and invite our imaginations out to play. This stunning gift-book contains thirty exquisite poems by celebrated US poets Ted Kooser and Connie Wanek, beautifully illustrated by artist Richard Jones. A freewheeling romp through the world of imagery and metaphor, this quietly startling collection is framed by the four elements and divided into thoughtfully-curated sections, exploring art and reality, fact and fancy. Look around: what do you see? A clown balancing a pie in a tree, or an empty nest perched on a leafless branch? This charming compendium of the fleeting and unexpected turns the everyday - towering trees and tiny tadpoles; roaring fires, lazy afternoons, and pillowy white marshmallows - into poetic gold. A brilliant and timeless collaboration that evokes both the mystery and grandeur of the natural world and the cosy, mundane moments of daily life, this wonderfully illustrated collection is the go-to gift book of the season for poetry fans of all ages.

The Woods Are On Fire is Fleda Brown's deeply human and intensely felt poetic explorations of her life and world. Her account includes her brain-damaged brother, a rickety family cottage, a puzzling and sometimes frightening father, a timid mother, and the adult life that follows with its loves, divorces, and serious illnesses. Visually and emotionally rich, Brown's poems call on Einstein, Shakespeare, Sophocles, Law and Order, Elvis, and Beethoven. They stand before the Venus de Milo as well as the moon, as they measure distances between what we make as art and who we are as humans. In wide-ranging forms-from the sestina to prose poems-they focus on the natural world as well as the Delaware legislature and the inauguration of William Jefferson Clinton. The Woods Are On Fire includes nearly fifty new poems, along with poems selected from seven previous books, showcasing an influential American poet's work over the last few decades.