NATIONAL BOOK AWARD FINALIST • Songs from our era of communal grief and reckoning—by the Pulitzer Prize and T. S. Eliot Prize for Poetry winner, called “a poet for these times, a powerful woman who won’t back down” (San Francisco Chronicle).

“At the time of have-not, I look at myself in this mirror,” writes Olds in this self-scouring, exhilarating volume, which opens with a section of quarantine poems, and at its center boasts what she calls Amherst Balladz (whose syntax honors Emily Dickinson: “she was our Girl – our Woman – / Man enough – for me”) and many more in her own contemporary, long-flowing-sentence rhythm. Olds sings of her childhood, young womanhood, and maturity all mixed up together, seeing an early lover in the one who is about to buried; seeing her whiteness, seeing her privilege; seeing her mother (whom her readers will recognize) “flushed exalted at Punishment time”; seeing how we’ve spoiled the earth but carrying a stray indoor spider carefully back out to the garden.

It is Olds’s gift to us that in the richly detailed exposure of her sorrows she can still elegize songbirds, her true kin, and write that heaven comes here in life, not after it.

In this wise and intimate new book, Sharon Olds tells the story of a divorce, embracing strands of love, sex, sorrow, memory, and new freedom.

As she carries us through the seasons when her marriage was ending, Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip; the radical change in her sense of place in the world. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry she has yet given us.