Winner of the 2004 Agnes Lynch Starrett Poetry PrizeBlue on Blue Ground is about the body, desire, anxiety, and obsession—how what we want redeems and isolates us (and is sometimes used against us). These poems are artful yet accessible, lyrical yet direct, strange but recognizable.Smith's relentless self-examination, fear, sense of humor, and vulnerability are all laid to bare in crisp, precise language. From lonely observations, bizarre medical fascinations, emotion, loss, and honesty, Blue on Blue Ground constructs its internal and external worlds. The metaphorical city is also a "body," a place of exile and restoration, a symbol of hope, a catalyst for connection. The urban landscape is often the background for the moment or is the moment itself—the world looked at and sorted into words.Though at times dark, there's love to be found. Perhaps it's what drives this collection, colors its observations, and leads it to finally announce: "Someone is putting the world back together." Blue on Blue Ground wants to look at absolutely everything and believes that complete exploration of the physical and mental selves—fears and desires—is the key to moving and being completely alive in the material world.

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Set in 1876 in the coal hills of Pennsylvania, the story follows two unwitting orphans, Patrick and Sissy Hughes, who are propelled on a desperate journey after witnessing the murder of their father. They carry with them a wooden box retrieved from a secret compartment beneath their father's bed. His dying words to them: "keep it safe, keep it hidden." Powerful men are looking for what's inside the box and they will do anything they can to get it. One hundred miles to the South, large crowds have gathered at the Centennial Exhibition in Philadelphia. Patrick and Sissy's father had promised to take them there for the Fourth of July celebration. Instead, they are running for their lives. Alone and on the run, they are pursued by their father's murderer, James McKenna, a Pinkerton Security Agent who is working undercover investigating the Molly Maguires for the Philadelphia and Reading Railroad. Patrick and Sissy's only hope is to unlock the mystery of the contents of the box: a diary, a translucent blue stone and a bag of blue ground. That hope lies in Philadelphia with Henry Carvill Lewis, a professor of mineralogy at the Academy of Natural Sciences. As they make their way to Philadelphia, their pursuers grow in numbers and Patrick and Sissy must fight against time and the odds to stay together.

Cambridge University Library's collection of illuminated manuscripts is of international significance. It originates in the medieval university and stands alongside the holdings of the colleges and the Fitzwilliam Museum. The University Library contains major European examples of medieval illumination from the ninth to the sixteenth centuries, with acknowledged masterpieces of Romanesque, Gothic and Renaissance book art, as well as illuminated literary texts, including the first complete Chaucer manuscript. This catalogue provides scholars and researchers easy access to the University Library's illuminated manuscripts, evaluating the importance of many of them for the very first time. It contains descriptions of famous manuscripts, for example the Life of Edward the Confessor attributed to Matthew Paris, as well as hundreds of lesser-known items. Beautifully illustrated throughout, the catalogue contains descriptions of individual manuscripts with up-to-date assessments of their style, origins and importance, together with bibliographical references.

In his third poetry collection, Primer, Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die.

A tour de force, Aaron Smith’s fourth collection of poetry, The Book of Daniel, resists the easy satisfactions of Beauty while managing the contemporary entanglements of art, sex, and grief. Part pop-thriller, part queer rage, and part mourning, these poems depict not only the complications of representation in the age of social media but a critique of identity. Taking on subjects as diverse as the literary canon, his mother’s incurable cancer diagnosis, gay bashing, celebrity gossip, bigotry, violence on TV, and Alexander McQueen’s suicide, Smith proves that the confessional lyric is not dead. In tangents as wild as they are reigned, with his characteristic blend of directness, vulnerability and humor, these poems take on the world as it is, a world we love even as it resists all intimacy.