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Esson’s first collection of poems, Bells and Bees, was published in 1910; a second collection, Red Gums and Other Verses, in 1912. Although Esson published no further poetry collections, his verse continued to appear in magazines such as The Bulletin until the late 1920s.

Charles Bukowski examines cats and his childhood in You Get So Alone at Times, a book of poetry that reveals his tender side. The iconic tortured artist/everyman delves into his youth to analyze its repercussions.

In Ecstasy, Alex Dimitrov embraces a life on the edge in New York and the finely wrought poetry that can come out of it. He explores sex, drugs, parties, pleasure, and God in the 2020s, and looks back to a coming-of-age in the 1990s that still informs who his generation is and will be. His unabashed and drivingly musical poems are a call against repression, a rebuke of cultural norms and shame, and a celebration of human authenticity – even if to live under such philosophies is dangerous.

The Keelie Hawk is a landmark collection from Kathleen Jamie, the current Makar (National Poet) of Scotland. For the first time, Kathleen Jamie has brought her astonishing lyric talent to the language of her homeland, with outstanding results.

A long poem in Kerouac’s freewheeling and spontaneous improvisational style, Mexico City Blues is a unique epic of sound, rhythm, and religion. Called superb sensory meditations, the poetry takes in life, death, and spirituality but roams widely across continents and cultures. Memories, fantasies, dreams, and surrealistic free association are all lyrically combined in the loose format inspired by jazz and the blues.

In the hills of Sparta, Tennessee, during the early nineties, Helen decides to break free from the life that stifles her: marriage, motherhood, the monotonous duties of a Southern housewife. But leaving isn’t the same thing as staying gone. Rooted in a lush landscape, this poetry collection explores Helen’s isolation and rebellion as her expansive personality clashes with the social rigidity of her small town. In layered poems with settings that range from football games to Chuck E. Cheese to the bathroom of a Motel 6, Helen enters adulthood as a disaffected homemaker grasping for agency.

As snappy as a dinner jacket’s red silk lining, as appealing as a piano interlude in jazz, Brad Leithauser’s robust felicity is a balm in grim times. It’s also the perfect vehicle for nostalgia, regret, and surprise, forces that animate his first collection in more than a decade. By turns laugh-out-loud funny and deeply thoughtful, this collection balances wisdom and practicality, as with deft care Leithauser easily, often unexpectedly, juggles off-rhymes and old forms and new. The book unfolds like a five-act play, moving from chattier poems to dramatic denouements.

Whether we're tumbling with Katz in a field of yellow flowers with a group of long-haired young people what seems only a moment (but is really four decades) ago or doing yoga right now, looking out a sliver of window at moving clouds, this collection evokes the exact scenes and buzz of perception that command our daily thoughts, that usher in grace and beauty, with their quietly urgent moral qualities, which, Katz suggests, can shape our days if we allow them to.