In Nicky Beer’s The Diminishing House, birds are disemboweled, a father is mourned, and a basement fills with snakes. This first book of resonant lyric poetry meditates on such subjects as animals, art, and anatomy, and transforms the familiar and mundane into something strangely mythic. Beer explores the exhilaration and frustration of living in a sensuous, unstable world filled with grief and desire.

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In another book of mystic explorations, Cooley mines the decline and passing of his parents' lives for insights into a Spirit that dwells beyond us, beside us and in us, the poet guided by "the grace light possible to sustain me." Drawing from received texts in Christian myth for iconic figures he can re-shape as his own, Cooley tries once again to find miracle, even ironic miracle, in the ordinary.

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There is a melancholy sweetness running through these poems that, while not entirely redemptive, offers unexpected relief and enables us to see that Jim Daniels, despite the tough-bitten talk, is a poet born to praise.

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"There is a melancholy sweetness running through these poems that, while not entirely redemptive, offers unexpected relief and enables us to see that Jim Daniels, despite the tough-bitten talk, is a poet born to praise." -Carol Muske, New York Times Book Review

"Jim Daniels has, with his third book, become an important successor to James Wright and Phil Levine in describing men's lives in the industrial heartland of America." -Julia Stein, American Book Review

"Although Daniels' verse is thematically dark, the energy and beauty of his language and his often brilliant use of irony affirm that a lighter side exists. This young poet has already found his voice. And he speaks with that rare urgency that demands we listen." -Harvard Review

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"Reading theses poems, you'll think the stereo is on - their music is that sure and rich, exuberant and sorrowful in turns, full of a sexual sway. Terrance Hayes takes us through a living library of cultural icons, from Shaft and Fat Albert to Coltrane and Miles Davis, but we always end up at the heart, where damage and tenderness mix, where loneliness becomes a blood tie. His generous vision finds beauty in our most flawed gestures" - Betsy Sholl, author of The Red Line and Don't Explain.

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Cave of the Yellow Volkswagen journeys from womb to fluorescence, dust mite to gargoyle, lakey depths to Florida sunshine, a dodgy trip made safer because the Beetle was reported to float if it careened off a bridge. The poems are a testimony—windows up, radio rowdy—to astonishing escapes and (non)leaky endings.

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