Poetry Books

Book Synopsis“Arji Manuelpillai hits the ground running with this debut and I freaking love it. His poems are funny, irreverent, hugely affecting. He’s fidgety, darts moment to moment – you’ll rush after him, then suddenly find he’s stopped, spun on his heel and you’re face-to-face with his good-natured grin. Manuelpillai will dial up the volume just to whisper something damn beautiful beneath its surface. Every page of Mutton Rolls is tasty, and announces by increment a highly enjoyable new voice.” — Wayne Holloway-Smith“The poems in this brilliant, playful debut are multifarious though gratifyingly interlinked, addressing the subjects of Sri-Lankan British identity, masculinity, friendship, grief and love. The tone is sometimes satirical, but there is no hiding behind satire in Arji Manuelpillai’s work – great tenderness and beauty characterise these poems, and the poet’s voice is completely original, entirely his own.” — Hannah Lowe

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Book SynopsisThe Beauty Within Shadow was written between August 2019 and June 2020. These poems are concerned with the balancing of darkness and light in our everyday lives, the search for an understanding of pain and sorrow, and the processing of other thoughts we'd usually avoid by filling our days with mindless distractions.Trade Review"Shove up National Treasures. We need to make room for Henry Normal." - Radio Times; "The Alan Bennett of poetry" - The Scotsman; "Distinctly funny" - Time Out; "Witty and uncannily accurate with his observations." - The Stage; "Dovetails bittersweet poetry with a sublimely observant wit." - The Guardian

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Book SynopsisAward-winning poet, translator, and academic, Jaume Subirana is one of Catalonia’s most treasured poets, winning some of its most prestigious prizes for his poetry and essays. In an eloquent translation from accomplished poet and translator Christopher Whyte, The Silent Letter showcases Subirana’s sharp observations, delicate eye for detail, stunningly beautiful images, and poignant suspension of the moment.Trade ReviewSasha Dugdale, award-winning poet and translator "I think Jaume’s work is astounding, I was grasping for ways to describe it: delicate and profound. The Silent Letter translated by Christopher Whyte who has reproduced the wonderfully taut lyric of Jaume’s Catalonian work. My Best Poetry of 2020 list would be alarming and capacious like a great aunt’s handbag – but it would definitely include this (The Silent Letter) on this morning’s reading...” Robert Pisani. Full review here If one is unsure about poetry or is wants to explore poetry in translation then The Silent Letter is a perfect primer and once again Fum d’Estampa Press have shown that they are a publisher with a high quality rate and are slowly becoming an indie powerhouse with each release (spoiler, there will be another review from this press in the near future). Bookmunch Literary Blog. Full review here In achieving balance and perspective – cultural resonance drawn from life, nature and simple observation – the author provides inspiration to pay quiet attention and live well. From Jackie Law’s blog review. Full review here. The poems bring to life the beauty of nature and its ability to calm inner turbulence. Time is given over to watching raindrops catching light on a windowpane. Snow blankets the ground, bringing with it a feeling of peace … Such visual pleasures are presented succinctly, avoiding the garish, leaving a contrail of enchantment in what many will fail to notice as they chatter and look forward to their next experience. The poems offer a cessation in the rush and noise – the fear of missing some opportunity that blinds to what is here already. From John-Paul Davies’ review for Buzz Magazine. Full review here. Subirana’s collection is beautifully presented in the original Catalan, with the English translation on the opposite page. If, like me, you’re not so good at reading Catalan, it’s still a treat to turn the words over in your mouth, with the meaning, so well-rendered by Whyte on the opposite page, bringing clarity. Not that Subirana’s poetry is reading that feels like work. It’s best summed up in the entirety of Buson In Venice, “The gilded splendor of / the sun on stones / tired of being beautiful”. In a time when making new memories worth cherishing presents a challenge, Subirana reminds us such moments are all around us, every day. From Kaggsy’s Bookish Ramblings. Full review here. Subirana’s poetry is very immediate, something I love; and his works range in length from haiku length verses to longer works stretching over several pages. The poet discusses love, life, nature, loss – the usual subjects you’d expect. I suppose – and in beautiful, elegant and evocative lines. I marvelled, as I often do, as to how a poet can capture so much in so few words, convey so much that’s actually not spelled out in their verses. Manuel Castaño, El Pais “Subirana delights the reader because he is a poet capable of illuminating the importance of the moment, because he concentrates in but a few words the implied dimensions of often banal episodes or fleeting thoughts. The poem, 84th Street, for example, paints a scene in which someone, probably a couple, contemplates a nocturnal storm from their 21st floor flat, therefore underlining their elevation above other, daily preoccupations. It’s a moment of tranquillity, but also of worry: “how many more streets / before we meet / our destiny.” His poetry is a spark of joy in the face of the vertiginous passing of time.” Jordi Llavina, Diari Ara “In yet another glorious snapshot of poetry of the interior (Family Cinema), Subirana’s beautiful microscopic view of life associates “a popcorn explodes” with the following line: “like snow, laughter / reverberates.” … He continues to convince us of his own personal truth and his discreetly magnificent writing.” Enric Umbert-Rexach, El Nacional “Subirana’s singular poetry expresses both the enigma and the perplexity it can provoke within the patient observer of landscape. He is enchanted by the triviality of the self before the grandiosity of the surroundings, bringing form to this through an austere, timeless poetry.” Enric Umbert-Rexach, El Nacional Gerard E. Mur, El Nuvol “Subirana plays with surprise, a game he is particularly good at when working with maximum brevity in his poetry.” Jordi Galves, La Vanguardia “Subirana is ever faithful to his poetry, bringing it to lifetime and again. His work is serene, excellent, full of echoes of literary standing and precise creativity. His is a mature, important poetry. Bravo.” Jordi Carrera, Un dia en les carreras “Subirana demonstrates yet again that he is a strong, sensitive, minimalist poet who writes because he is in tune with tones and bursts of colour, of smells and aromas, and touch. He constructs his objects carefully, building them through his text, imagery and all of the efimer pleaures that, quite naturally, are impossible to otherwise communicate.” Francesc Parcerisas “Open any of Subirana’s books at random and you will feel yourself carried away by the natural current of his beautiful poetry.”

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Welcome to Sharing Our Horizon, a selection of poems and photographs from the popular blog Whippet Wisdom that capture daily moments in the Scottish Highlands with our two adopted whippets, Eivor and Pearl. Like most dogs, Eivor and Pearl love spending time in nature. They have taken us to places we had never visited before and the restorative energies of those quiet beaches, mountains and glens have played a big part in their rehabilitation. The poems and images show the beauty in each moment and the potential for the healing that spending time in nature brings. The prologue and title poem 'Sharing our Horizon' invites us to pause and see the gifts in these moments. The opening poem 'Before the Daffodils' is a distilled version of conversations and observations in and around animal rehoming shelters. It reminds us that sometimes, dogs are surrendered when people realise that simply loving a dog is not enough. A dog also deserves regular exercise, regular stimulation, socialisation and play-time. A good home provides all of this, in addition to love, food and shelter. The majority of poems are a modern take on the ancient Japanese poetry forms of haibun, haiku and tanka. Traditionally, these poems begin with quiet poetic observation and conclude with a moment of philosophical of spiritual insight. They are written in rhythm with the seasons and the fluctuations of the weather within those seasons. Like the traditional haiku poets, I would describe haiku as a way of life, a way to look and marvel at nature and see the magic in the ordinary. To me, this is very much in the spirit of how Eivor and Pearl look at the joys of the everyday and the beauty nature offers. By capturing these moments in a few words others can experience a glimpse of what we see and connect it to their own experience. For those who are interested in finding out more about the history of these Japanese poetry forms, the book offers a helpful section 'About the Poetry Forms' at the back of the book as well as a Bibliography for further reading. The overall theme of the poems and images is how rewarding adopting a rescue dog can be, how they enjoy being part of a pack and how they thrive when allowed to spend time in natural settings. The natural beauty of the Scottish Highlands is visible in the images throughout. Sixty per cent of net profits from the sale of this book will be shared with animal rehoming charities at the end of each financial year.

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Book SynopsisCallie Gardner’s debut collection Naturally it is not: a poem in four letters is a remarkable work written between the Spring Equinox of 2016 and the Spring Equinox of 2017. It is a work that moves between form, part lyric, part manifesto, part essay. Gardner’s poetry here is a truly unique blend of avant-garde rhetoric, utopian politics, and elemental alchemy. A timely work that engages anew with ‘the natural’ and ‘the cultural’ in an era marked by the increasing irrelevance of the four-season cycle of the year under climate change.

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Book SynopsisA BOSTON GLOBE BEST POETRY BOOK OF 2011 The poems in this collection inhabit several countries or no country at all, but many are concerned with boundaries: between words and silence, one person and another, today and tomorrow, freedom and fear. Although the poems rarely employ traditional forms of rhyme and repetition, their sound is the engine that propels them, while invented visual shapes intensify the experience of reading. All of these experiments are concerned with how art works, what it requires of us, and what it gives back. As the cow in a gallery tells the viewer: "Feed me, please, / your possibilities, / and I will fatten you."

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Book SynopsisThe least important man was a boy in the 1970s. He remembers clubhouses, plastic soldiers, swimming lessons, rocket launches, a grandfather's letters from World War I. Those days are long gone, however: now the least important man is grown up. He lives in the city. He suffers endless rush hours, he dreams of other places, he drinks cheap coffee and crosses streets and sees explosions on the TV news. But through it all he's still thinking about that old life, and wondering what it meant, and asking in his quiet way how he might reconcile two such transient worlds with each other. The Least Important Man is the second collection from Gerald Lampert Prize-winning poet Alex Boyd: sober, self-sacrificing, and handsome, it's a book for those who want poetry to reassert its dignity and authority in everyday life. Alex Boyd is the author of Making Bones Walk (Luna Publications 2007) and the winner of the Gerald Lampert Award. He lives in Toronto, Ontario.Trade Review"Consistently strong. Boyd's images and metaphors are deft." - Winnipeg Free Press "The poet can work magic in miniature: poems about chess pieces, toy soldiers, and house spiders each animate aspects of civic and personal life ... 'Basil Rathbone Meets God,' 'A Stuntman Destroys the Hate Window,' 'Samuel Drowns, at Thirty' and others are among the book's most beautiful and surprising. By the end of the collection I was able to count a number of these standouts. And man, that is important."-Quill & QuireTable of ContentsThe Least Important Man A Glimpse Of My Bright Life in the Morning 1977 To a Businessman At Rush Hour The Balding Man Feels the Music Canada Day Snapshot, 2004 Someday the Men With Hats Will Go And the Morning Brings Rush Hour Two Thirteen Line Poems on How We Need a New Poem Formula For the Body and the Bullet How Words Feel Captain Kirk Love Poem Rod Serling’s Funeral, 1975 Brick and Bone The Culture of Shyness Notes on a Small World Remembrance Day, 2001 Undersea Homage to Everything In Place First World Wars Dream Dead Bees Are Indomitable Vesta Lunch Eyes Only Know How to Steal The Weight of a Fool Firenze Elementary Summit Around One: Late Friday Subway Notes The Dignity Machine Eric the Swimmer For All Undone Things Instinct Mama Spider The Echo of Isaac Brock At Forty Moving Into History Poem In the Sun Uncertain, Texas Little Green Men Basil Rathbone Meets God Tomorrow at Ten For One Second at Midnight Samuel Drowns, at Thirty I Just Have to Get Through This Orwell Robot A Stuntman Destroys the Hate Window No One On the Streetcar Swallowed

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Book SynopsisIn poems performed via scat singing, via documentary, poems devoted to the sui generis, Missing Her redefines the elegy as a seeking statement.

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Book SynopsisJahan Ramazani has written that “These dazzling lyrics and sequences create one of the most compelling portraits we have of a mind, a sensibility, a language emerging from the hybridization of cultures.”

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Book SynopsisStray Poems opens with San Francisco Poet Laureate Alejandro Murguía's inaugural address, where he provides a brilliant and impassioned poetic account of San Francisco's Native and Latino literary history. What follows is a selection of Murguía's most recent work, composed over the past twelve years. These are poems of the twenty-first century, written in a combination of English and Spanish—the patois of contemporary America. Angry, rebellious, subversive, sentimental, hip, urban, local, global.Alejandro Murguía is the author of Southern Front and This War Called Love, both winners of the American Book Award. He is San Francisco's first Latino Poet Laureate.Praise for Alejandro Murguía & Stray Poems:"In the city of poets, Murguía has become the activist voice of refugees and exiles--as so many of us are, even as natives--at the center of the Americas. Disguised by its sensuous intimacy, soothing and ennobling, his is a poetry that arms the resistance."--Dagoberto Gilb, author of The Magic of Blood"Poet, teacher, publisher, lover, literary guerrilla--Alejandro Murguía is a San Francisco treasure. And I'm not saying this because he knows where to find the best pozole. Although he does."--Jack Boulware, Litquake co-founder"The powerful stream of rich, diverse Spanish spoken in the United States by millions of Latinos from Mexico, Central and South America, and the Caribbean, has rushed into the huge river of the English tongue in such a way that a language and a literature have been born from those troubled waters, exploring multiple alternatives and choosing many paths. These Stray Poems from Alejandro Murguía speak with all those voices, crossing linguistic borders and really going out of the way to deviate from the standard path and let the multiracial and multicultural, all-embracing Latino beat flow into the heart of English."--Daisy Zamora, The Violent Foam"Murguía with a tango unleashed, a city on fire, a rendezvous of homage, manifesto, revenge and transcendence--he is alone, without a face, yet recognizable in every body that swims through the under-streets of the City, of Paris, of Havana, of bombed-out-Here's-and-There’s and the stripped down body of all of us. No stones are left unturned; hypnotic, alarming, 'melodramático,' rough-lovin’, unkempt, 'dangerous,' and ready to battle at the center of the scorched core. 'I didn’t cheat,' one poem admits. He is on trial—fire-spitter and disassembler of cultural falsifications, in 'strange' and romantic moods, the poems scatter truth and aim and blow and burn and rise unto the flagless sky--'. . . a country of oceans and mountains.' Murguía gets there. Alone, because few embark on that voyage. An astonishing, brutal nakedness. Love, that is. No book like it. An unimaginable heart of and for the peoplea ground--breaking prize."--Juan Felipe Herrera, Poet Laureate of California

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Book SynopsisThe framework of these short volumes introduces the reader to the specific focus of each book. The accompanying poems and images offer an aesthetic and emotional experience.In this volume Professor Pietroni explores the poetry of economics and politics using the metaphor of the Greek god Atlas, who carries Earth on his shoulders as punishment for being unhospitable to Perseus. In developing this metaphor, Pietroni stresses the need to introduce and understand the gods and goddesses of compassion.

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Book SynopsisThe framework of these short volumes introduces the reader to the specific focus of each book. The accompanying poems and images offer an aesthetic and emotional experience.This final volume in Professor Pietroni's impressive collection explores the concept of leadership. In developing its theme, the book introduces the myth of the great leader and details the attributes of the compassionate leader.

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Book SynopsisA new poetry collection from one of America's most lyric and sonically interesting poets.Abraham Smith’s Insomniac Sentinel is a concatenation of sandhill cranes and their haunting deep time dinosaur barking. It is the croon of safety from the heart of Wisconsin. It is an aegis from the violence perpetuated on the young; that the young perpetuate; lurching and launching from tercets, those familiar island letting go sideways, the poems themselves as steady and desultory as sand and people and the places they abide. Insomniac Sentinel is a collision of meter, speed, and experience into auditory sensations that range from the elegiac to the ecstatic to the venomous in Smith’s nuanced considerations of blue-collar America. Mirroring the attentions of Midwest arrhythmia in the music of the sandhill cranes, Insomniac Sentinel resonates on temporal frequencies, waves ancient and contemporary, rolling from the throats of giants.Trade Review“This message from the kinetic yet ghostly realm of Wisconsin that suffuses Abraham Smith’s Insomniac Sentinel alive with its rural glossary, with its hidden waking clandestinely complex within seeming quotidian display. It scripts a lingual fuse of heresy, that absorbs particulates of human brewing, and what follows is a slow magnetic glow that suffuses the text not unlike a susurrant under-ringing. Thus, it emits by complexity by this glow letting us know that verbal life continues to not only thrive but quietly erupt and cascade from regions that we seemingly thought to be inert, always poetically aware of yielding circuitous treasure from what was thought to be a less than magnetic hamlet.” – Will Alexander, Pulitzer finalist for Refractive Africa and author of The Contortionist Whispers “you know, i am the giver/back of sound.” This bardic claim could only be true of Abraham Smith, who sings open-throatedly the continuous song of a crane lifting off the junkpile and into history’s storm. His song pushes through and around the language of working, of working bodies, both human and inhuman, raising it all up, illuminating it, as in a manuscript, indicating what is precious, as if sound could be the one thing it is not, and shed light. That’s the sad note in this “gravy-to-cradle” threnody, this “lunged-up thud tender.” Reading Abraham Smith makes you ask the big questions, like, are our wings made of the shreds of where we came from? Does a bird fly on its wing, or on its song?” — Joyelle McSweeney, author of Toxicon and Arachne “I can hear Abraham Smith’s voice intoning in his breathless and headlong fashion throughout his latest collection of poems. The verses practically read themselves to me, accompanied by an insistent rhythm a backbeat for music that these poems conjure up.” – Charlie Parr, Smithsonian Folkways recording artist and author of Last of the Better Days Ahead “Abraham Smith is one of my favorite living poets keeping the art form alive. He is patiently stoking the fires of imagination and his persistence has kept the cinders of inspiration smoldering. It is a joy to read his work and thrill to hear him read it in person.” – Margo Price, Grammy nominee, Farm Aid board member, and author of Maybe We’ll Make ItTable of ContentsCONTENTSTHE INSOMNIAC SENTINEL 7THEY PAINT 16SHELL LIFE 22DOUBLE VISION 29BRAKE 4 CRANES 35NATOMY 41WHY DANCE 47RIVER BLUES 56IN TIMES OF LOVELY LOVE 68IN KEY OF WISH RABBIT SINGS 74HOODWINK AUBADE 80YOUR ANCIENT & FRANKLY BREAKING UNDERWEAR 90WESTFIELD 95PURPLE MOUTH LIFE 106TOUCHSTONE BLUES 109WHY EAT WHY KILL 121

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Book SynopsisKingdom is a book of poems influenced by six years of living in Morocco, where the book is primarily set. It interrogates notions of subtle, day-to-day changes as well as those promulgated by sweeping social and political movements. It is a book influenced by the natural world and our everyday connections to it and each other. t is a book about witness and longing and alienation as well as the complications with both beginnings and endings. It is a book where ideas live and pass away with both clarity and incomprehensibility.

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Book SynopsisBhanu Kapil's Ban en Banlieue follows a brown (black) girl as she walks home from school in the first moments of a riot. An April night in London, in 1979, is the axis of this startling work of overlapping arcs and varying approaches. By the end of the night, Ban moves into an incarnate and untethered presence, becoming all matter— soot, meat, diesel oil and force—as she loops the city with the energy of global weather. Derived from performances in India, England and throughout the U.S., Ban en Banlieue is written at the limit of somatic and civic aims.Trade ReviewEndorsements: Time Out New York chooses Ban en Banlieue as one of their most anticipated books of 2015 Review Quotes “The project is presented as an abandoned novel that reads as a document of Kapil’s expansive and varied process of researching, planning, and writing. “A brown girl on the floor of the world” is the central image, and the porous relationship between Ban’s story and the story of Kapil writing and thinking about Ban is fundamental throughout. Kapil casts and recasts descriptions of Ban alongside documentation of the author’s own acts of lying down, undertaken through performances, protests, and somatic exercises. The result is a complex and deeply engaged “literature that is not made from literature.”—Publishers Weekly “It is not a novel so much as a birth, a death, a violent “discharge.” It was born from an accumulation, a messy building up of notes which was—according to Kapil—assembled by chopping it up on a butcher’s block. The body of Ban En Banlieue was assembled through violence, a body assembled by means of its own violent deconstruction. Even unto itself, this might seem like a self-contradiction that cannot be reconciled. Kapil’s beautiful, bleeding, half-dying, half-living, anti-novel is well aware of this.”—Meghan Lamb, Entropy Magazine

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Book SynopsisIn the story of the prophet Elijah, he must flee his home, and, after an arduous journey, he arrives under a broom tree, where he prays for his own death. But in his sleep, he is touched by an angel who provides food and water. In this moment, the broom tree becomes a symbol for shelter in a barren landscape, a portent of hope and renewal. Drawing inspiration from this tale, Natalie Homer’s debut poetry collection is a trek through the wildernesses of the heart and of the natural world. Exploring the idea of divine providence, Homer finds seams of light opening between forlorn moments and locates, “Something to run a finger through, / something to shine in the ocher light.” Within these narrow spaces, Homer explores themes of longing, home, family, and self-worth amidst the wondrous backdrop of the American West and the Rust Belt, while integrating a rich mythology of narrative, image, and association. The broom tree, offering the capacity for shade and respite, becomes a source of connection and an inspiration for the collection. It is an invitation to sink deep into the earth and self and feel the roots entwine.Trade Review"'Stay close I urge the young rabbit / as he nears the road.' Natalie Homer keeps a close watch on the world in this stunning book of poems, moved by a potent mix of curiosity, vigilance, and love. Nothing seems to escape her notice. She looks up and sees a 'stray clump' of balloons drifting through the sky. She looks down and sees the 'creeping gray lives flourishing in corners.' She looks under cars and in storage closets. No detail is too small. While the polar bear at the zoo may be 'on vacation, ' even the water in its tank 'can be a spectacle, too.' At once wry, candid, and rich with description, Under the Broom Tree is a wonderful book." --Geoffrey Hilsabeck, author of Riddles, Etc.Table of ContentsI. Interview A Place to Lie Down Diorama of Anxiety Attack Wild Tonic in the Rain Dear Astoria Good Vibrations Topography Pacific Attic of the Skull Am I the Only One Here I Hear You’re Doing a Great Job Suburban Orchestral Dormancies Fear of Loss at Any Moment Liquor Outlet The Bravery of Cotton Coralbone Bloom Pleasant Ghosts Torpor Interior Architecture II. My Mother Sent Cards A Hiding Place, a Surprise Sunflowers in the Median Divination Dust on Horses Glue Market Morning Glory Pool In My Desert Overlook Every Seven Years Immersion Genealogy Equity Telemetry Search Party (I.) Search Party (II.) Summit Under the Broom Tree III. Dear Idaho Organic Geometry Veterans Day Return to Sender Another Small Failure What You’re Really Looking For Memorial Day Aperture Fourth of July Horoscope Souvenir Gravedigging, 5:00 am Processional Relief Efforts Night Garden Love Poem Somnambulance Field Notes 8 Hot New Tips The Incalculable Loss of a Small Thing

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Book SynopsisElisa Gabbert’s L’Heure Bleue, or the Judy Poems, goes inside the mind of Judy, one of three characters in Wallace Shawn’s The Designated Mourner, a play about the dissolution of a marriage in the midst of political revolution. In these poems, Gabbert imagines a back story and an emotional life for Judy beyond and outside the play. Written in a voice that is at once intellectual and unselfconscious, these poems create a character study of a many-layered woman reflected in solitude, while engaging with larger questions of memory, identity, desire, surveillance, and fear.

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Book SynopsisFirst English-language collection from a leading poet in South Korea.Kim Haengsook is one South Korea’s most eminent contemporary poets, but a complete collection of her poems has never appeared in English before now. This selection draws on her work across her career and five books in Korean. Haengsook's poetic spaces are shrouded in a magic fog that is clarifying instead of obscuring. Built out of a language that incorporates a strategy of what she calls "precise ambiguity," her work radiates outward like great waves whose philosophical rhythm you can't help but get caught in.Trade Review"Chosen by the poet from books she has published during the past two decades, Human Time spans the voices the poet has engaged with. Whether in the sky or underground, vanishing staircase or field trip . . . the urgency of what is being said is the music we have been longing to hear. As the poet tells us: 'Time, we’re always in the thick of it.' I think we would be derelict if we did not join her there." –John Yau

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Book SynopsisAn acclaimed “poet’s poet” with deadpan wit and a gift for lyric innovation reveals an entirely new side of Korean contemporary poetry. This debut English-language collection by Shin Hae-uk offers up poems that rebel against the thin boundaries between self and others, human and object, speaker and addressee. These poems inhabit the voices of houses, colors, planets, childhood friends; they know the manic spunk of a good day and the dizzy lethargy of a bad memory.  In this kaleidoscopic collection, Shin breaks open for today’s young poets the possibilities of time, tense, and speaker. Critics in her home country praise her as a prophet of the post-human, asking what is it like to exist and feel—as a dead animal, as a sound, as someone else’s memory. But for all its philosophical intelligence, Shin’s poetry is also funny, friendly, and sometimes even snarky, full of jagged left turns and mood changes. Shin knows what it’s like to feel you can be three different people within three minutes. These quirky, clever poems are for everyone who has ever shared that feeling.

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