More things that are apparently hot right now:
HOT: Repentance. e.g. "You've been very, very bad! Here's how to be good!" This trend started with diet books, spread to financial books about "repenting" from your naughty subprime mortgage-taking ways, and is now manifesting itself in a "green" light: "you've been very, very bad to the earth"...
HOT: Abundance: "Wait, don't get rich—appreciate what you already have!" Weirdly, INTERN has been noticing that books about abundance tend to be in hard-cover with thick paper stock, to make them seem weighty and, you know, abundant...with pages...
HOT: Teenage detectives. Do they ever get old?
And now for something completely unrelated. What follows is a short (long?) discourse on poetry. You've been warned.
A while ago someone commented asking THE INTERN to talk about poetry and its market (or lack thereof). Like most writerly young things, INTERN too has had her fling with poetry, even going so far as to briefly intern at a prominent literary magazine.
Let THE INTERN tell you something about prominent literary magazines. This one was run out of the editor's basement, and consisted of two people: the editor, and the managing editor (a former intern of his). That's it. The internship consisted of riding around [city redacted] in the editor's red sportscar listening to art gossip, with the occasional bout of being told what to like. The poetry world, waaaaaay more than the book-publishing world, is extremely tight knit and patronizy. This can be a good thing (Young Poet gets taken under wing of Old Poet, Old Poet helps Young Poet write better and eventually get published) and a bad thing (often the only way to meet said Old Poet is to enlist in an expensive and, INTERN suspects, homogenizing MFA program).
Like book publishers, literary magazine editors often solicit poetry and fiction from writers they know rather than depending on the slush pile for content. But literary magazines are way more likely than book publishers to actually print stuff from da pile. And since they're not really trying to make money off your poem, they don't care so much about your bio—just whether or not your poem's good. Buuuut since literary magazines generally have tiny staffs, whether or not your poem's good often comes down to just 1-3 opinions. The editor at the lit mag THE INTERN interned at enjoyed giving first-time authors a leg up in the world—it made him tingle inside—and was prone to calling them on the phone and introducing himself as Prominent Editor ("*gasp* prominent editor? really? what a thrill to hear from you!"). The poetry world is full of heros and magnanimous patrons. INTERN is not sure whether this is happy or sad.
As for mainstream publishers, the Tragically Hip have it right on the nose: "Don't tell me what the poets are doing/Don't tell me that they're talkin' tough." There are lots of funky, interesting small presses out there publishing good poetry; big publishers generally don't wanna know what the poets are doing unless it's for a big-name anthology coming out around, say, Mother's Day.
INTERN loves poetry. Publishers don't.
That's about it.