A ." . . stunning first poetry collection. . . . These poems are howlingly nasty and perfectly executed. . . . Trowbridge's weapons are a deep puzzlement of feeling and a wonderful ear; he knows how to divert with jokes while he's about to attack: 'BLAM BLAM BLAM!'" -San Francisco Chronicle

A ." . . stunning first poetry collection. . . . These poems are howlingly nasty and perfectly executed. . . . Trowbridge's weapons are a deep puzzlement of feeling and a wonderful ear; he knows how to divert with jokes while he's about to attack: 'BLAM BLAM BLAM!'" -San Francisco Chronicle

William Trowbridge reminds us of the terrible series uses to which comedy can be put, and of the near-limitless possibilities of the dramatic creation of character. This is a throughly captivating collection of poems.

In New York Times–bestselling author Jennifer Wilde’s spellbinding tale of romantic suspense, an ominous horoscope proves eerily accurate for a woman visiting a quaint English town “You will make a sudden journey and meet a dark stranger . . .” Author Jane Martin doesn’t believe in fate, so when she stumbles across her horoscope in the newspaper one day, she decides to disregard it. But then her widowed brother calls, asking her to take care of his children while he’s away at a science conference. He’s even booked her a first-class train ticket. En route to her brother’s house, Jane is accosted by one stranger only to be rescued by another. One of these handsome men is destined to come back into her life, because peaceful, centuries-old Abbotstown has been rocked by a string of bizarre burglaries—and a murder. There are no leads or suspects, but Jane’s precocious niece Rebecca insists she knows things the police aren’t aware of. After someone tries to break in to the house, Jane finds herself surrounded by too many men who say they want to protect her and the children. Suddenly she fears she is a pawn in a sinister intrigue in which she will not be able to distinguish hero from villain.

Archeologist Bethany Dailet has waited all her life to explore the ancient tombs of Egypt, but she never dreamed of falling down a hole and discovering an ancient tomb that has been buried for nearly 3,000 years. Nor did she dream of meeting two men who would change her life forever.

Our appreciation of American poetry is as influenced by the personas presented in the poems as by public perception of the poets themselves. Emily Dickinson peeking from behind a doorway with large dark eyes is an indelible image superimposed over her spare, enigmatic poems. The grand gestures of Walt Whitman's voice have much to do with our reading of "Song of Myself." And we cannot hear "Mending Wall" or "Mowing" without thinking of the image of the rustic, sly farmer-poet that Robert Frost so carefully cultivated. The moral authority of the poet reveals itself through the poems as well, and it is crucial to the meaning of the poem, Holden argues, if art is to elevate life. Part 1 of The Old Formalism,"The Practice," is a close study of some of the conventions and developments in contemporary American poetry, with such topics as "sex and poetry" "rhetoricity," and "sensibility." Holden shows lucidly how character--or lack of it--is revealed in poetry. In "Personae," the second part, he gives a studied reading of a group of several admired poets, such as Richard Hugo, Mary Kinzie, Ted Kooser, and William Stafford. Holden uses biographical references and personal contacts with the poets to strengthen the notion of character revealed in poetry. This book takes a decided stand in the ongoing debate of the past two decades about the relationship of American poetry to American culture. In an age when image dominates word, and the business of poetry is nearly as celebrity-laden as Hollywood, Holden takes us past the media glitz, backstage where the poems are waiting to be read. Quite simply, in a clear, incisive manner, he teaches us how to read well again.