Detroit Lions: An Illustrated Timeline by Dave Birkett Reedy Press, October 2024
In Detroit Lions, An Illustrated Timeline, award-winning reporter Dave Birkett vividly recounts the most important people, games and moments of the franchise’s first 90 seasons, from the early days of Earl “Dutch” Clark, the team’s first superstar, to the 10 Hall-of-Famers who played for the team in the ‘50s, to the spine-tingling performances of Barry Sanders and Calvin Johnson and the team’s resurrection under beloved head coach Dan Campbell.
The story Professor and Journalist Carrie N. Baker tells in Abortion Pills: US History and Politics takes place at the intersection of public health and political posturing. Players include feminists, doctors, the pharmaceutical industry, the Food and Drug Administration, Congress, state lawmakers, and anti-abortion actors who, for four decades, have grappled over protocols for pill distribution and use, a battle that largely sidesteps the fact that abortion medication has been used to safely end unwanted pregnancies in 96 countries.
But overly-cautious US lawmakers aside, Baker reports that the pills – called mifepristone and misoprostol – are typically taken within the first 10 weeks of pregnancy and now account for 63 percent of abortions that are arranged via telemedicine or by visiting US health centers or contacting online clinics.
It’s a remarkable figure, and Baker writes that she expects it to grow.
Moreover, the rapid development of informal pill distribution networks, largely promoted on the internet, presently help an untold number of people acquire pills. According to Baker, these efforts began to skyrocket after the 2022 Supreme Court decision in Dobbs v. Jackson Women’s Health Center (which upended legal protections for abortion.) “The overturn of Roe removed abortion pills from the medical system in many states and spurred the development of informal networks of pill distribution and support for using them,” she reports. “Rather than moving patients to providers, advocates worked to move pills to people.” The upshot is that people have become increasingly aware that pills can be easily purchased and used at home.
That said, Baker acknowledges that abortion medication is not a panacea and recognizes that abortion surgery will sometimes be necessary; she also cautions readers that people have been arrested and convicted for acquiring pills unlawfully. Still, despite legal risks, Abortion Pills celebrates the determined feminists and public health activists who have put abortion medication directly into women’s hands.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
“The first step is admitting it,” opens Barbara Tran’s debut Precedented Parroting. The “it” is either something the speaker wishes to forget or is the speaker “admitting” to being a “willful forgetter.” The speaker has “taken this step many times.” To remember poses risks. Memories represent something “that plagues” and cause the speaker to “become stranded”; the memories at the fore, those specific and unique to a Vietnamese family, their immigration, and the anti-Asian sentiments and violence they survive/d. Throughout the collection, the reader witnesses the struggle between forgetting, “admitting,” and “sharing.” In the poem “Blue from a Distance,” the poet writes, “There is a phrase / in Vietnamese chia buồn / sharing sadness.”
From poem to poem, Tran turns the pages of a family photo album, “slicing / open” or “framing” a “moment” of her memory within her family’s life. The poet defines trauma as the nesting of a smaller figure inside a larger figure — “each loss / encompasses smaller / losses” like a bird’s “feather each barb / holds smaller / barbs.”
A cacophony of birds flock Tran’s poems. In the first poem alone, a raven, drongo, kingfisher, kite, cormorant, heron, egret, and sandpipers appear. As the title suggests, the parrot takes precedent. Parrots, readers are told in the title poem, respond to trauma in ways similar to humans: “They rock themselves to comfort / themselves They scream and suffer / from insomnia and nightmares.” But birds also have the ability to “let go their contact / with the earth and water.”
These “poem[s] are a road map / writ” “in measured layers, offering facts withholding / crucial details” by a speaker who “comes from a family / of unreliable narrators.” That is because it is “really difficult / to learn / how to live,” “to find / [one’s] own feather.” The poems in Precedented Parroting mark a beginning “telling,” and in this beginning, Barbara Tran sings as birds do.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (forthcoming University of Nevada Press), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024) and Mind of Spring (Vallum Chapbook Series, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices, visit her author website.
The New York Times Book Review used to have a question in their weekly interview with authors where they would ask that author what book the President should read. The answers were often rather enlightening, but they became more political when Donald Trump was in the White House, which is when, I believe, the newspaper stopped asking the question. Matthew Desmond’s book would be a good answer, no matter who the President is, so I’m sorry that question isn’t there any longer.
Desmond lays out a solid argument that the poverty in America isn’t accidental, and it isn’t a result of laziness on the part of those who are poor. Instead, poverty is due to a concerted effort by politicians and corporations. The policies in the U.S. create poverty and keep people in that situation under the guise of a scarcity of resources. Similarly, corporations claim they cannot afford to pay workers more or they will have to charge consumers more for their products, all while recording record profits and bonuses for CEOs.
Desmond doesn’t let the average reader—white and at least middle class—off the hook, either. He points out that many government benefits actually make life better for people who are not poor—whether that be the ability to write off mortgage interest or zoning laws that drive up housing prices—not those who need the most help.
Thus, he calls on readers to vote and act in such a way to help alleviate poverty, especially by supporting companies that actually pay their employees a living wage (he doesn’t name particularly egregious businesses, such as Amazon, but they readily come to mind). However, real change has to come at the policy level, as poverty is, in fact, by design, so the solutions will need to be, as well.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
In Stedfast, his third collection of poetry, Ali Blythe responds to John Keats’s last sonnet, which opens with the line: “Bright star, would I were stedfast as thou art—” As if cutting a key from the past, Blythe disassembles Keats’s poem, by a full line, half line, or word at a time, then reassembles it across the titles of Stedfast’s poems. For instance, the first three poems in Stedfast are titled “Bright Star,” “Would I were stedfast,” and “As thou art.”
The poems of Stedfast are love poems in the romantic tradition, delivered in couplets and by “lyric address” from a speaker who whispers “disquieting thoughts” to a lover “asleep.” “And so on down the page” the “export is memory,” “the same old stories” by a “ghostwriter.” Via “astral projection” and “delicate revolutions,” Blythe reconceives and transforms Keats’s single sonnet into a book-length nocturne.
Taking place over “one night,” the collection meditates on the idea of steadfastness in romantic relationships, and by extension, in romantic poetry. As “one myth” dissolves “within / another, risking / our own nihility,” the poet grapples with the tension between “allusions” and illusions, illusions and reality, a romantic past and a fragile future.
In Stedfast, Ali Blythe’s poems constitute a “path / of devotion” to other and poetry, and they “seize what shines.”
Stedfast by Ali Blythe. icehouse poetry, September 2023.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (forthcoming University of Nevada Press), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024) and Mind of Spring (Vallum Chapbook Series, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices, visit her author website.
The Whole Catastrophe by Jami Macarty Vallum, September 2024
In her aptly titled fourth chapbook, The Whole Catastrophe, Jami Macarty takes readers on a road trip to the Bosque del Apache Wildlife Refuge in New Mexico while reflecting on fragility of life, greed of corporations, and the disasters we must withstand, from plastics pollution to toxic feedlots to carbon monoxide poisoning. Mourning the death of a dear friend and threats of fragile ecologies are reasons for despair but not to disengage. In The Whole Catastrophe, resisting destruction means caring for the interdependent parts of wonder, annotating birds on their migratory course, waving hello to grief, and knowing catastrophe like a constellation above.
Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (forthcoming University of Nevada Press), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include Mind of Spring (Vallum Chapbook Series, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices, visit her author website.
The premise of Naomi Klein’s latest book, Doppelganger: A Trip into the Mirror World, sounds like it could be the basis for a Hollywood comedy: people often confuse Naomi Klein, author of books that attack corporations and climate change, with Naomi Wolf, author of The Beauty Myth, but now turned right-wing conspiracy theorist. There’s even a moment where Klein talks about earlier confusions with Naomi Campbell, a Black British model who does not, in fact, write books about corporate power or the climate crisis.
However, given that Naomi Klein wrote this book, it is not a comedy. Instead, Klein uses the confusion with Wolf to talk about the mirror world of the title, the one that Wolf now lives in, creating and perpetuating a reality that is similar to the real world, but different in dangerous ways. Klein talks about how she and Wolf have fairly similar concerns: the rise of technology and the companies that monitor and misuse their creations; global organizations that make decisions that overrule the concerns of people within independent nations; governments who use crises and catastrophes to change policies their citizens would never support otherwise. Wolf, though, takes those ideas and produces conspiracy theories with no basis in fact, sharing them online and on Steve Bannon’s productions.
Klein makes it clear that the primary difference between her work and Wolf’s work is the diligent research and fact-checking that goes into what Klein produces. That approach means that Klein is open to information that can change her mind, unlike Wolf and those like her. While Klein doesn’t spend as much time on former President Trump as she could, it’s clear that he and his supporters are who she’s trying to explain, through the lens of Wolf. Ultimately, Klein argues that all of the mirroring that goes on prevents people from seeing themselves and others clearly. Her book tries to cut through that to help readers understand a world they would never experience otherwise.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (forthcoming University of Nevada Press), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024) and Mind of Spring (Vallum Chapbook Series, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices, visit her author website.
In Tangled in Vow & Beseech, Jill McCabe Johnson tangles with self as daughter, sister, mother, survivor, and poet; with an “unpredictable series / of geometries” in relationship with an intimate partner; with the “the weight / of weep and want and regret” of the most pressing socio-political issues of our contemporary time. The poet allows her speaker to get real about “another mass / moment” of gun violence, those “who fell in the path / of xenophobia,” “the silencing of women,” and the dangers of “indifference.”
While the poet “sit[s] with” the consequential and holds others to account, she assumes her ethical responsibilities as a citizen and an artist, insisting that the personal includes the public. Perhaps this collective of “all-too-human / foibles” accounts for McCabe Johnson’s poems being “leashed to form.”
In some cases, the poet determines form by the poem’s content. For instance, the poem “Boxed In” uses vertical lines to erect walls around horizontal textual lines, thereby boxing in the text: “| if I typed with an eye | toward balance | maybe each poem could carve a window | or box.” Received forms, such as the abecedarian, acrostic, apostrophe, elegy, epistle, and nocturne, claim space among poems that act as a “Travel Journal” and press release. The handful of contrapuntal poems, scattered throughout the book, offer readers multiple meaning combinations. The gesture of multiple possibilities of meaning makes sense because, throughout the collection, McCabe Johnson reaches beyond the unary and binary.
With her “eye | toward balance” and inclusion, Jill McCabe Johnson “breaks the bones of what we know. Resets them” to offer readers Tangled in Vow & Beseech, a book of both the “jurisdiction of the past” and an “edict of hope” for the future.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (forthcoming University of Nevada Press), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024) and Mind of Spring (Vallum Chapbook Series, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices, visit her author website.
On the Wrong Side: How Universities Protect Perpetrators and Betray Survivors of Sexual Violence by Nicole Bedera University of California Press, October 2024
The debate over campus sexual violence is more heated than ever, but hardly anyone knows what actually happens inside Title IX offices. On the Wrong Side by sociologist Nicole Bedera provides the first comprehensive account of the inner workings of the secretive Title IX system. Drawing on a yearlong study of survivors, perpetrators, and the administrators who oversaw their cases, Bedera exposes the structures that predictably punish survivors who come forward in the service of protecting—or even rewarding—their perpetrators. In doing so, she reveals that the system tasked with ending gender inequality on campus only intensifies it, upending survivors’ lives and threatening the degrees that brought them to college in the first place.
Dr. Nicole Bedera is a sociologist and cofounder of the antiviolence consulting practice Beyond Compliance. She received her PhD from the University of Michigan and has spent more than a decade studying sexual violence and advocating for survivors in media outlets including the New York Times, NPR, and Harper’s BAZAAR.
Power Point is a groundbreaking collection of feminist poetry by Jane Muschenetz, including Best of the Net nominated, “100% Mom” (Whale Road Review), Pushcart nominated, “Failure to Thrive” (Meat for Tea), and several genre/discipline bending poems that intersect economics, science, popular art, and literature. Too often, women and change-makers are dismissed as “hysterical, emotion-driven, irrational.” Power Point turns this notion on its head, presenting meticulously researched “data poems” to make the case for a more compassionate world. Blending traditional and hybrid formats, Muschenetz exposes the status quo as a malleable and subjective reality that can and must be questioned and improved. Muschenetz, an MIT trained Business Strategy Consultant, used Microsoft PowerPoint™ software to create several of the ‘pointed’ poems about ‘power’ dynamics in this collection.
Good Different is a stunning novel-in-verse narrated by Selah, a 13-year-old girl struggling to act normal amidst an onslaught of feelings (as all 13-year-olds are, but they do not know that).
The metaphor of the dragon carried throughout the book works on several levels: to embody Selah’s emotional state, as one struggles inside her; as a strike against social norms, as seen in her rule set (“Don’t talk about dragons too much”); and as a symbol of difference that’s powerful and cool.
A turning point in the story comes when Selah attends a Fantasy Convention where she encounters others embracing dragon art, dragon lure, and living life on the autism spectrum. Selah goes online and finds much to learn about herself and others, tools to assist with the impinging world, and a brave new word: accommodations. The scene with her school hallway lined with poetry brought me to tears.
Empathy can be taught, and in showing (not telling) how different can be awesome, this book is a welcome lesson. There should be a copy of this book in all middle/elementary school classrooms and libraries. As Selah says:
I am full of possibilities— I can do more than just hide
Good Different by Meg Eden Kuyatt. Scholastic Press, April 2023.
Reviewer bio: Elizabeth S. Wolf has published five books of poetry, most recently, I Am From: Voices from the Mako House in Ghana (2023). Her chapbook Did You Know? was a 2018 Rattle prizewinner. Elizabeth’s poetry appears in multiple journals and anthologies and has received several Pushcart nominations.
It’s time to stock your fall reading list, and to help you with that task, check out the September 2024 New Books Received. Each month we post the new and forthcoming titles NewPages has received from small, independent, university, and alternative presses as well as author-published titles.
If you are a follower of our blog or a subscriber to our weekly newsletter, you can see several of the titles we received featured. For publishers or authors looking to be featured on our blog and social media, please visit our FAQ page.
When an obsessive ‘starchitect’ moves into a remote glass house, her governing architectonic principles start to shatter. In the eye of a self-created cancellation storm, protagonist Jacky “The Beetle” McKenzie’s attempts to maintain a ‘streamlined’ existence become increasingly difficult. As she pinballs between ‘inflated confidence and immobilizing insecurity; the two logical poles of her world order,’ her partners struggle to magnetize her unyielding vision. Where Mark only supports Jacky as her obstinate, successful persona, Clarissa, her secondary partner, encourages her to inhabit the grey space between these poles.
The novel offers an intimate character study that effortlessly flows between the inner voices in this claustrophobic, triangulated relationship. While Mark and Clarissa are a well-drawn supporting cast, one can sense Bigg reveling in the humor of Jacky’s unpalatability. Yet, however unpleasant her protagonist appears while interacting with others, she is far more complex than an ‘unlikable female character.’
Jacky desperately falters towards growth but the reader is compelled to see the journey, particularly when, at one point, she sartorially becomes ‘the Beetle’ that the media nickname her. A Scarab Where the Heart Should Be is a fast-paced meditation on obsessive ‘genius,’ cancel culture, and the push-pull between intimacy and compromise.
Reviewer bio: Jennifer Brough is a slow writer and workshop facilitator. Her work has appeared in Ache Magazine, Eunoia Review, SICK Magazine, Artsy, Barren Magazine, among others. Jennifer is writing her first poetry pamphlet, Occult Pain and was shortlisted for the Disabled Poets Prize’s Best Single Poem 2023.
Throughout Mengestu’s writing career, he has created characters who have trouble connecting with others, who have some sort of distance from others and themselves. Usually, that breakdown in relationships comes from their lack of recognition of the trauma they’ve suffered, frequently from their experience as refugees or immigrants.
Someone Like Us, his latest novel is no different, as he tells the story of Mamush, a journalist living in Paris with his wife Hannah, with whom he has a young son. However, Mamush spends almost the entire novel traveling to Washington, DC, where he grew up, reflecting on his life with his mother and Samuel, a father figure who might also be his father.
Mamush and Hannah’s marriage is on the verge of collapsing. Their son suffers from some ailment that has sapped his energy and seems to be taking his life from him. Whenever Mamush leaves home, Hannah wonders if he will come back. Similarly, Mamush’s career as a journalist has effectively ended. He became known for writing stories about immigrants from Africa, but those stories were always about tragedies that happened to them, not successes they had.
Samuel and Mamush’s mother have a complicated past that involves living in Europe, as well as Chicago, where they both were arrested, before moving to Washington, DC. However, neither of them will talk about it, and Mamush is unable to discover what happened. Like Mamush, Samuel seems incapable of building true relationships.
Near the end of the novel, Mengestu merges the past and present, questioning even the reliability of the story Mamush and Samuel have been telling. When one has been through trauma, stories become unreliable, but they also become the only thing one has to hold onto. Mengestu gives the reader one more such story, leaving it open to the reader to find hope in the midst of loss.
Someone Like Us by Dinaw Mengestu. Alfred A. Knopf, July 2024.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
In US Constitution 101: From the Bill of Rights to the Judicial Branch, Everything You Need to Know about the Constitution of the United States, authors Richey and Paccone, both teachers, provide readers with a concise, anecdotally rich account of how America’s most foundational document evolved to become “the world’s oldest, functioning written Constitution.” Influenced by Hammurabi’s Code in Mesopotamia, the Greek system of demokratia, and the European Magna Carta, US founders struggled to create unity among the original 13 colonies while simultaneously granting each locale some autonomy. This pattern persists today (seen, for example, in the diverse state abortion laws that followed the 2022 Dobbs decision and in policies that govern the voting rights of convicted felons.)
Eighteenth-century contention is writ large throughout the book – regarding immigration, slavery, women’s suffrage, taxation, and declarations of war — and showcases the compromises and concessions of James Adams, Alexander Hamilton, Thomas Jefferson, James Madison, and George Washington. Moreover, tensions over ratification of the newly-drawn Constitution, which required approval by nine states, are palpably reported and readers become privy to arguments between those who favored federal cohesion and those who favored state’s rights. Accommodation, Richey and Paccone write, “to ensure that none of the branches of government can gain a decisive advantage over the others,” led to a bicameral legislature, with strict policies regarding Presidential veto power and the appointment of federal judges, cabinet members, and ambassadors.
In addition, coverage of church-state separation, freedom of speech and assembly, prior restraint of media, and gun rights give the book added heft and contemporary relevance. What’s more, a smattering of fun facts enliven the prose: Readers learn that gerrymandering, for one, is named for Massachusetts Governor Elbridge Gerry, whose administration created a salamander-shaped district that critics dubbed the gerrymander. Who knew?
US Constitution 101 is an entertaining and extremely-readable resource, a guide to US governance for middle school and older readers. It answers a host of questions and explains the rationale for the state-by-state patchwork that makes many policies both complex and varied.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
Just YA: Short Poems, Essays, & Fiction for Grades 7-12 Seela Books, September 2024
Just YA: Short Poems, Essays, & Fiction is a powerful collection of literature celebrating the diverse and dynamic experiences of contemporary youth. This open-access anthology features short texts that can be read in a single class period and are designed to spark deep conversations. Organized around themes of identity, love, place, justice, and the future, these works offer inclusive and affirming perspectives. With contributions from acclaimed young adult authors, flash fiction writers, and teacher-poets, Just YA provides educators with contemporary texts that resonate with and inspire today’s students. All content is freely available online, encouraging widespread access and use, including 50 pages of instructional materials for teachers.
Contributors include Kristin Bartley Lenz, Tamara Belko, Joe Bisicchia, Stefani Boutelier, Taylor Byas, Dana Claire, Mary E. Cronin, Chris Crowe, Kacie Day, Sarah J. Donovan, Carlos Greaves, Zetta Elliott, Federico Erebia, Kennedy Essmiller, Jen Ferguson, Glenda Funk, Hope Goodearl, Jennifer Guyor Jowett, Regina Harris Baiocchi, Christine Hartman Derr, Melissa Heaton, Rajpreet Heir, Jamie Jo Hoang, Julia Horton, Val Howlett, Valerie Hunter, Stacey Joy, Shih-Li Kow, Laura Kumicz, Sandra Marchetti, Lee Martin, S Maxfield, Jonathon Medeiros, Linda Mitchell, Alana Mondschein, Erin Murphy, Aimee Parkison, Alicia Partnoy, Sonia Patel, Darius Phelps, Brittany Saulnier, David Schaafsma, Laura Shovan, Kate Sjostrom, S., Samuel Stinson, Rachel Toalson, Padma Venkatraman, Karen J Weyant, Kayla Whaley, Emanuel Xavier, Aida Zilelian, and Laura Zucca-Scott.
India Lena González’s debut fox woman get out! is a poetry collection of “restless mourning,” seeking a “salve” to the “stopping up [of] spirit.”
What has stopped up the poet’s spirit has to do with America and the country’s sociocultural demands that she prove “where to place [her]self” and perform her identity as una parda, one of “the mixed bloods whose ancestries could almost never be accurately described.” The poet turns those demands on their head and acts out an exorcism of the “gold-toothed hag that is America” instead.
To “rez rrrrr e k t” herself, González uses drama-based and poetic intervention. First, the poet calls to be “heard out.” This reader willingly took my seat in the “audience.” Second, the poet calls in her matriarchal and patriarchal ancestors—her “planets”—to guide and help her “get [her] words right” for both her and her family. Third, she tears herself “wide open,” “showing [her] wounds.”
As the scenes of what González calls her “magnum opus” unfold, she seeks to “beat the / out-west-fragility” and the “being-a-woman business” “out of” herself, thereby “wash[ing] the beasts off” and “shaking [off] the trauma.” According to González’s healing wisdom, if there is to be “beginning again,” “first the old must go out.”
Yet, one of the remnants of “the old” may linger, revealing itself in the poet’s “assuming” that “reader(s)” would get “lost” in Fox Woman’s cosmos or be suspicious of her “big A” authenticity. This reader wondered if this “assuming” was evidence of anxiety about being accepted and therefore ongoing trauma. America may not change, but the poet does. This reader followed “sparks of divinity” as India Lena González gave “birth” to her words on the page, “building” and “shaping anew // world.”
India Lena González’s fox woman get out! is medicine poetry.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize, forthcoming fall 2024, and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe, forthcoming summer 2024 from the Vallum Chapbook Series, and Mind of Spring (Vallum, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices visit her author website.
Set in a provincial capital, in the penultimate throes of the Greek Civil War, New Moon: Day One is semi-autobiographical, a tale of two protagonists on the brink of manhood. They speak in bluntly human tones, but in precincts that echo of death the impulse to life is declared.
The elements of a screenplay are recast by Valtinos as a novel. Interposed with bursts of dialogue, and reading like stage directions, intimate scenes alternate with a wide-screen view. Fade-outs, as blank pages, punctuate the whole. Though the gaze is that of a camera—of pristine detachment—the energy is propulsive. The thread of a breathless suspense is drawn through a complex collage. It seems to precisely catch the rhythm of human becoming.
“Thanassis Valtinos is a masterful storyteller who has vividly captured in his novels and short stories some of the most turbulent and tragic periods in Greece‘s recent history. In “New Moon” he tells a coming-of-age tale of two boys who struggle to deal with their emerging sexual impulses as they try to survive the brutalities of a vicious civil war. A searing story by Greece’s premier living novelist at the top of his game.” —Nicholas Gage
The Alternatives—Caoilinn Hughes’s third novel—begins with four chapters that follow four sisters going about their daily lives. Those lives are disrupted when Olwin, the eldest, leaves her family in the middle of the night and goes missing. The rest of the novel focuses on the three sisters finding Olwin and having conversations—or avoiding conversations—about who they are and what they value, often through accusations as much as confessions.
Their parents died when they were teenagers, a death that shaped them all in quite different ways, offering readers at least one meaning of Hughes’s title. Olwin raises them after their parents’ deaths, which is partly why her disappearance bothers the other sisters even more than one might expect. Rather than simply finding out that she is still alive and doing well, for example, they all converge on her to have a sort of intervention. It’s during those moments in the novel when the reader finds out more about their childhood and their parents’ deaths, as they each view that time in their life differently, yet another meaning of the title.
Hughes’s structure mirrors the dramatic stakes of the novel by literally shifting into dramatic form. When the sisters have found Olwin, Hughes twice shifts to writing the novel as if it were a play, as they discover more about each other as they are now and how they view their pasts. Such an approach doesn’t lose the characters’ interior thoughts, though, as Hughes allows those thoughts to appear in what one would typically see as stage directions. As with life, Hughes doesn’t leave her characters with closure; instead, they try to forge some semblance of a life out of the struggles they all face. As we all do, they will do the best they can.
The Alternatives by Caoilinn Hughes. Riverhead Books, April 2024.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
Michigan State University professor Josh Cowen’s The Privateers: How Billionaires Created a Culture War and Sold School Vouchers is a potent indictment of the role school vouchers play in undermining public education. It’s a timely, insightful, and enraging book.
Cowen reports that the push for vouchers – which enable children to attend private schools with public dollars – began in 1954 when Brown v. Board of Education was decided. Fearful of court-ordered school desegregation, a slew of white parents sought ways to keep their children out of mixed classrooms. They were soon aided by racist legislators and theorists, including economist Milton Friedman, who helped them strategize. As fears about public school safety ramped up, their efforts picked up speed with eleven states currently providing universal school vouchers to any family that wants them.
That number, Cowen writes, is likely to rise.
This, despite the program’s consistent failure to prepare kids for academic progress – as measured by standardized test scores. But low grades don’t faze voucher proponents, a deeply connected network of donors (the Bradley, DeVos, Koch, Walton, and Olin funds) that dovetail with conservative political groups (The Heritage Foundation and Manhattan Institute), grassroots community activists, and professors from prestigious universities. All favor privatized education as well as book bans, censored curricula, and the enactment of anti-LGBTQIA policies.
Cowen’s analysis of how vouchers have fed into this broader conservative agenda makes it essential reading for supporters of public education. If being forewarned allows us to be forearmed, The Privateers elucidates the many challenges ahead and suggests ways to successfully resist the right’s game plan.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
Real Americans, Rachel Khong’s second novel, follows three generations, beginning with the middle one. The first section tells of Lily’s life as a second-generation Chinese immigrant, as she tries to make a life in New York. She has an unpaid internship and a stereotypically small apartment until she meets Matthew, a tall, handsome, extremely wealthy, white man, an encounter that changes their lives. They get married, and Lily gives birth to Nico, the focus of the second section of the book.
He grows up on an island off the coast of Washington State with only his mother, going by the name of Nick. While he loves his mother, he also longs to escape the claustrophobic life of the island, ultimately leading him to attend college at Yale, even though he doesn’t feel he fits in there. He also struggles with his identity, as his mother is of Chinese heritage and he can speak Chinese, but he looks as white as his father, including his blue eyes. He reconnects with his father and begins to learn why his mother left, leading him to try to understand who he truly is, so he can craft his own life.
The final section’s focus is on May, Nick’s grandmother, providing the reader with more background on the family, helping to explain the actions and reactions that have led to Nick’s life. Underneath the family dynamics—the core of the novel—there is a larger ethical question that the contemporary world will have to deal with in the coming years, though I don’t want to give that aspect of the novel away.
Even without that issue, Khong clearly explores how parents try to do what is best for their children, how children misunderstand those actions, how parents sometimes make mistakes, and how children sometimes forgive them and sometimes don’t.
Real Americans by Rachel Khong. Alfred A. Knopf, April 2024.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
This new book of poetry by David Chorlton continues his firm legacy as a great Southwestern poet whose current Arizona roots have established him in the deserts, the wildlife, and all its surprising vegetation revived after each year’s monsoon season. These poems bring a recognition of what’s been lost among all he loves and what he discovers each day as a kind of supplement to that loss.
Born in Austria in 1948, David Chorlton grew up in Manchester, close to rain and the northern English industrial zone. In his early 20s he went to live in Vienna and stayed for seven years before moving to Phoenix with his wife in 1978. In Arizona he has grown ever more fascinated by the desert and its wildlife. Much of his poetry has come to reflect his growing concern for the natural world. He now lives in Ahwatukee in Phoenix, within easy reach of South Mountain which dominates a 20,000 acre desert park within the city.
In her fourth collection, Whipsaw, Suzanne Frischkorn brings necessary attention to the profound vulnerabilities and strengths of women and girls in a dangerous “American landscape.” With “keys between … fingers in a parking lot,” Frischkorn’s poems confront male violence against females, and they indict a “sex-trafficker pedophile,” “frat boys [who] pick off freshmen girls,” and physical, sexual, and emotional forms of family and intimate partner abuse. In this landscape, “it’s all dire.”
Frischkorn’s speaker tells us she is daughter of a father who “tried to drown [her] in his bottle of sorrows” and a mother who “had no stint of empathy / for any living thing.” Under these circumstances, a reader may wonder, as one poem does, “what did sorrow ever do?” These poems assert that sorrow can prompt honest expression, different choices, and foster change. The daughter’s “greatest // achievement was to shatter / the dysfunction [of her] parents.”
Bad things happen to girls and women in the forest, but not in these poems. “This is not a fairy tale.” Hurrah! Instead, the forest offers “detail of light and shade,” where our speaker takes solace among trees, and where “Like Thoreau alone // in the distant woods [she] come[s] to her[self].”
Out of that recovery comes a desire “to pay tribute to the promise / of the future” which requires allegiance to both the “ancestral forest” and the next generation. Here is a poet who fights for her freedom, protests “deforest, // to develop,” and strives to be the “kind / of mother— / to gift [her] child / endurance and steady pace.”
In Whipsaw, Suzanne Frischkorn uses language to cut in two ways—beyond the imperiled and “beyond the veil.”
Whipsaw by Suzanne Frischkorn. Anhinga Press, April 2024.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize (forthcoming University of Nevada Press), and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe (Vallum Chapbook Series, 2024) and Mind of Spring (Vallum Chapbook Series, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices, visit her author website.
The Colorado Authors League (CAL) supports and promotes its community of published writers while connecting with and adding value to the reading world. Formed in 1931, authors become members to: keep up with changes in the craft of writing, publishing, and marketing, gain greater visibility for their writing, join a group of like-minded people who love writing. View our flyer to see new releases by members and a link to our website.
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Words That Mend: The Transformative Power of Writing Poetry for Teachers, Students, and Community Wellbeing by Sarah J Donovan, et al. Seela Books, September 2024
A compelling look at writing poetry as a powerful transformative agent to support teachers, their students, and community. Words That Mend includes practical ways for teachers to engage in poetry writing providing prompts, instructions, and invitations for teachers to nurture their writing lives. The authors candidly share their personal stories of trauma, pain, and loss, as well as incredible stories from the classrooms and community events. These teachers warmth and love for teaching emphasize that processing traumatic or tragic events through poetry writing has become a step toward recovery and rediscovering hope at a time when the teaching profession most needs it.
Additional authors include Jennifer Guyor Jowett, Denise Krebs, Tamara Belko, Barbara Edler, Wendy Everard, Kim Johnson, Leilya A. Pitre, and Margaret Simon.
The National Alliance to End Homelessness estimates that 30 percent of unhoused Americans are children and their caretakers. And while every school district is mandated by federal law to address the needs of kids living in shelters, doubled-or-tripled up, in cars, or on the streets, The Three Melissas underscores the learning challenges that result from housing precarity.
The Three Melissas: The Practical Guide to Surviving Family Homelessness, a self-help manual for those navigating extreme poverty, was written by long-time advocates Diane Nilan and Diana Bowman for the unhoused, but it centers on the experiences of three women named Melissa. One lost her home after fleeing domestic abuse, another was evicted after becoming too ill to work, and the third lost her home in a hurricane.
They’re a sympathetic trio, and this slim volume provides a firsthand account of how they’ve accessed school resources, shared space, and found nutritious food, seasonally appropriate clothing, culturally sensitive medical and psychiatric care, and permanent shelter. But unhoused individuals are not the only readers who will benefit from their strategies: Social workers, teachers, school administrators, medical staff, and other ‘helping professionals’ will get an up-close introduction to the indignities that follow the loss of a home and the difficulties of navigating often-callous bureaucracies. Complete with recommendations for lawmakers, The Three Melissas also suggest numerous policy shifts to benefit undomiciled families.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
In Kursid Kids: Winter Turns [Book Two], the Kursid family are in a downward spiral. After breadwinner Koal loses his job, he, his wife, and three kids are evicted from their home. Despair forces them to take shelter in the woods, and as they try to evade the authorities something miraculous happens: a magic cat enters their lives and grants the two older kids special powers.
As a result, Winter, the oldest, can now morph between a human boy and a flying-swimming creature capable of hearing the area’s iron-handed ruler strategize about jailing the adults and breaking up the family. His sister, seven-year-old Pearl, has been given a different ability; to date, she has been able to warm even the coldest of hearts by a touch of her hand. But will this work on a greedy Magnate eager to make an example of the Kursids? It’s tense set-up and is left unresolved in this second of three intertwined books. (The first was released in 2022; the publication date of the third has not been disclosed.)
The books, written by a grandson and grandmother, weave a social justice fantasy into the harsh realities of class inequality. It’s a compassionate introduction to the day-to-day struggles of homeless families.
Kursid Kids: Winter Turns [Book Two], Creative author, Ronan Russell; Technical author, Pat LaMarche, Illustrated by Aron Rook. Charles Bruce Foundation, September 2024.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
Glitter Road, January Gill O’Neil’s most recent poetry collection, is about change. The poems tell the story of a speaker entering new chapters in her life after the loss of her life partner. Part of that new chapter illustrates her adventures and the exploration of her new identity on new soil: The South.
So many Southern voices, cultures and influences fill these pages. There, change is everywhere: “Here’s the nadir of our suffering, which started in one place to end in another.” We are called to the attention of the South’s gruesome past with racism and division, and Gill does not shy away from braiding culture shock and a land littered with a violent history against a backdrop of Mississippi landscape, the river often speaking in metaphor to the possibilities of change, even for the South itself.
We also bear witness to the change in family; the speakers’ relationship with her young children, as well as another chance at romance with a new, budding love. O’Neil describes the Southern landscape as “A repository for memory preserving a shared moment as when two people have loved each other well the topography transforms, diverges over time, cleaves a clearer path to where it was always meant to go.” And what a gentle, intimate way of writing how to embrace change in an unfamiliar land, and perhaps even how to leave the door open for more.
Glitter Road by January Gill O’Neil. CavenKerry Press, February 2024.
Reviewer bio: Lauren Crawford holds an MFA in poetry from Southern Illinois University, Carbondale. A native of Houston, Texas, she is the recipient of the 2023 Willie Morris Award, a finalist for the 2024 Rash Award, third place winner of the 2024 Connecticut Poetry Award, and the second place winner of the 2020 Louisiana State Poetry Society Award. Her debut collection, Catch & Release, is forthcoming in 2025 with Cornerstone Press as part of the University of Wisconsin’s Portage Poetry Series. Her poetry has either appeared or is forthcoming in Poet Lore, Passengers Journal, The Appalachian Review, Prime Number Magazine, SoFloPoJo, The Florida Review, Red Ogre Review, Ponder Review, The Midwest Quarterly, THIMBLE, The Worcester Review, The Spectacle and elsewhere. Lauren currently teaches writing at the University of New Haven and serves as the assistant poetry editor for Alan Squire Publishing. Twitter @LaurenCraw4d
This guide to publishing poetry is designed for the poet on a journey from facing a pile of poems to celebrating at a book launch. If you have been writing poetry for some time and have accumulated a volume of work, this guide is designed to meet you where you are in your book creation or publication process. It is organized into five sections to mimic the distinct phases of conceiving, arranging, editing, publishing, and promoting a poetry collection. Each section provides a mix of theoretical materials and practical assignments to demystify and ground the publication process.
In American Scapegoat, Enzo Silon Surin’s second full-length collection of poetry, the poet writes from a weightiness of being a Haitian-born immigrant to America and the “weight of the wait” for the country to fully reckon with its history of violence and injustice.
“if you’re black, like me, and were born mourning your rotations around the sun, you’re a full breath closer to the grave.”
Enzo Silon Surin takes on the myth, ethos, and pathos of America in his poems, and he pulls no punches. Nor should he. There is necessity in bringing to language for readers what the Black body experiences “when / it is being / sized up.” What those persecuted “felt,” the manner of their deaths, whether bullets, rope, or a knee to the neck, must be told. The poet is “writing in the hope that you will care about [his] early / demise, enough to be moved by how often [he] find[s] [him]self on [his] / knees.
Parts “appeal,” testimony, “vigil,” and sermon, Enzo Silon Surin is “in search of something whole and tender.” He “rebel[s] against the Union / by putting” a “felt-tip” pen in his hands and making “black characters” live again in the movies and in our collective “memory.” Enzo Silon Surin writes their “name[s]” and claims his among poets.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize, forthcoming fall 2024, and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe, forthcoming summer 2024 from the Vallum Chapbook Series, and Mind of Spring (Vallum, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices visit her author website.
90 Ways of Community: Nurturing Safe & Inclusive Classrooms Writing One Poem at a Time by Sarah J Donovan, Mo Daley, Maureen Young Ingram Seela Books, September 2024
For writing poetry in grades 6-12, this indispensable resource guides teachers through a year-long journey of poetic engagement, fostering a safe and inclusive environment where every student feels valued and heard. Grounded in social emotional learning and trauma-informed pedagogy, the authors provide practical, adaptable lessons that seamlessly integrate poetry writing into any curriculum.
With a clear framework developed by experienced educators, 90 Ways of Community is designed for teachers at all levels, from novices to veterans. Each chapter begins with a heartfelt “Dear Teacher” letter, offering context and support, while thematic clusters of prompts inspire creativity and connection. The book covers a wide range of topics, from celebrating individuality to extending community and healing through poetic expression. The authors draw on real classroom experiences and the collective wisdom of a community of teacher-poets.
90 Ways of Community is more than a collection of prompts—it’s a roadmap to building a classroom culture where poetry becomes a vital tool for learning and growth. Join in nurturing the hearts and minds of students, one poem at a time.
The eight short stories in Dogs and Monsters, Mark Haddon’s latest collection, run the gamut between the touching and the creepy. Most are adaptations of well-known tales: The Myth of the Minotaur; The Island of Dr. Moreau by H.G. Wells; Zeus’ granting of eternal life, but not eternal youth, to his daughter’s mortal lover; and the suffering of St. Anthony the Great, among them.
In this contemporary retelling, Haddon interrogates important themes including maternal love, sexuality, religious devotion, fear, the cruelty of teenagers, bias against the disabled, and lust.
“St. Brides Bay” introduces a divorced woman whose role in her daughter’s wedding brings up a series of what-ifs about her own partnership choices. It’s a poignant, stinging reflection on the road not taken. Similarly, “The Mother’s Story” addresses maternal love for a disabled son, a child who is scorned by his community and rejected by his father. Like the king’s wife in the story of the Minotaur, gossip about the child’s lineage persists, isolating the pair. Whether love is enough to sustain them remains an open question.
As the title suggests, dogs play a role in many of the tales. But they are not always humankind’s best friends. Indeed, the boundaries between humans and animals are often murky as they serve as both savior and antagonist.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
Informing the storyline for The Little Ambulance War of Winchester County, I.M. Aiken worked on ambulances off and on since the 1980s, starting in the Boston area where she was born and raised. She served one tour in Iraq with the US Army’s 4th Infantry Division, and now lives in Vermont.
This novel is based on her 40 years of work in the paramedic field and centers on main character Alex Flynn. Following in the footsteps of their beloved Boston cop father, Alex trains as an EMT and spends years chasing emergencies in an ambulance. But the person Alex becomes is a far cry from the hero they signed up to be.
Over four decades in public safety, Alex encounters a changing America, where veterans are left to rot on streets, women are welcome in dangerous fields but abusers still walk free, and service providers are subjected to intense public scrutiny while being denied the resources they need. After moving from bustling Boston to small town Vermont, Alex discovers an escalating feud between emergency operators and must decide which to protect: their community or their legacy.
Sally Ashton’s fifth book Listening to Mars offers readers “thought experiments otherwise known as poems” while “trying to understand” the COVID-19 health crisis, which brought with it death, uncertainty, anxiety, social upheaval, and political protest. Across the globe, “People began to die” or were “separated” from their families while “shelves emptied” and “we were forced to watch the execution of an innocent man in slow motion, over and over.” In other words, “the really big tragedies [of] these days.”
Conjuring “The Dark Night of the Soul,” by St. John of the Cross, and “In a Dark Time,” by Theodore Roethke, Ashton endeavors to “make sense of a dark time” via a Sci-Fi space curiosity. Imagining life on Mars seems to offer artistic escape to the poet, while calling out billionaires’ plots for a “backup planet” bolsters the purpose of her expression. In the moon’s waxing “curve,” a welcomed companionship; the “Stay-at-home orders to ‘flatten the curve’” a source of “panic.” The poems centering on celestial spheres in the Milky Way Galaxy act like points on orbital planes beaming attention back to Earth. The gravity of the situation on Earth is inescapable.
Planetary health and human anguish are also suggested in Ashton’s go-to poetic forms: the monostich and prose paragraphs. The spacious singular lines and dense text blocks suggest the themes and thematic tensions of the poems. The monostiches enact isolation, alienation, and lacunae; prose poems evoke connection, extension, and protest (of form). The collection also includes haibun and “haiku-ish” expressions. These Japanese-derived forms offer lyric qualities adept at managing grief and important to balancing “present danger” in the poems. The “sad trombone” and “highs of panic” brightened by “glints of light.”
Ultimately, the poet seeks “words that make the world look like what it feels like.” In a dark time, Sally Ashton finds her “way with a pen.”
Listening to Mars by Sally Ashton. Cornerstone Press, February 2024.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize, forthcoming fall 2024, and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe, forthcoming summer 2024 from the Vallum Chapbook Series, and Mind of Spring (Vallum, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices visit her author website.
Still plenty of time to enjoy summer reading. To help you achieve that goal, check out the August 2024 New Books Received. Each month we post the new and forthcoming titles NewPages has received from small, independent, university, and alternative presses as well as author-published titles.
If you are a follower of our blog or a subscriber to our weekly newsletter, you can see several of the titles we received featured. For publishers or authors looking to be featured on our blog and social media, please visit our FAQ page.
The main plot of The Spoiled Heart, Sunjeev Sahota’s latest novel, follows Nayan Olak as he campaigns for General Secretary of Unify, a British trade union he has been a member of since he began working. However, his campaign receives a stronger-than-expected challenge from Megha Sharma, a DEI officer who has worked there for roughly a year.
They represent two different approaches to race, though both are of Indian descent, largely due to their class differences: Nayan’s parents struggled financially, while Megha comes from inherited wealth, which she has chosen to turn her back on. Nayan wants Unify to be color-blind, to focus on all working people’s needs, regardless of race, while Megha believes that race and racism matter as much as class, if not more, leading the reader to explore the land-mined terrain of identity politics in a diverse Britain in the twenty-first century.
Further complicating Nayan’s life is the return of a writer he knew when they were children, Sajjan Dhanoa. They didn’t know each other well, and Sajjan left the area to go to college, rarely returning. In looking for an idea for a new book, Sajjan begins telling Nayan’s story, not only the campaign, but the death of Nayan’s mother and son in a purposeful fire at his parents’ store nearly twenty years before.
Nayan begins dating Helen and helping her son Brandon, though the reader ultimately discovers Helen, as well as Sajjan’s family, know more about Nayan’s losses than they’re saying. Because Sajjan narrates much of the story, relying on various people’s accounts, Sahota is also calling into question the validity of narrative, an idea reinforced through one of Megha and Nayan’s main confrontations. While the reader may understand exactly what happened, they won’t know exactly why, as even the characters are unsure of their motives, much like people in real life.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
The Big Lie About Race in America’s Schools edited by Royel M. Johnson and Shaun R. Harper addresses the ways that the U.S. right-wing has distorted and manipulated facts about how history and culture are taught.
This thirteen-essay collection harkens back to 2019 when scholar Nikole Hannah Jones launched the 1619 Project, a multimedia effort highlighting enslaved people’s vital contributions to U.S. economic and social development.
Not everyone was pleased with this message and white conservatives and Christian nationalists wasted no time in attempting to mute its impact as an educational tool: Since January 2021, eighteen states have passed limits on public school teaching – pre-K to university level – about race and racism. Gender, gender identity, and ways to fight oppression have also captured attention – and have been similarly banned. In addition to legislative attacks, the backlash has spawned “parents’ rights” groups to oppose student exposure to Critical Race Theory (CRT) in their classrooms.
But why all this momentum?
As The Big Lie makes clear, few educators teach this material. Moreover, the anthology challenges the idea that lessons about race or gender are “divisive” and contests the notion that such topics cause white (and male) students to experience “reverse discrimination.” This anti-racist and pro-democracy perspective makes the book essential reading for activists, teachers, researchers, and students.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
Ecuadorian writer Gabriela Ponce’s debut Blood Red is a rush of a novel that charts a 38-year-old unnamed woman’s unravelling. She skates through a city full of drugs, sex, and friendship, desperate to avoid looming life-changing decisions and a skin-picking compulsion that has haunted her since childhood.
In the midst of a rocky divorce, the narrator flits between casual lovers. Her regular hook-up lives in a cave-like apartment, where the walls appear as muddied vines pulsing under peeling pink paint. As her inner conflict spirals, Ponce uses color to demonstrate the fracturing between the body’s boundaries, with the ‘softness’ of her character’s inner self (white) that threatens to spill over and against the world’s forceful, hardened outer shell (red). Pain and pleasure are a hair’s width apart, creating a discomforting middle ground when these opposites converge in sexual encounters, memories, and vivid hallucinations.
Booker delivers a seamless translation that sweeps us along in this vortex, effortlessly layering the narrator’s deceptive cynical tone with the fragile stream-of-consciousness underpinning it. Ponce pushes her character to the brink of a visceral internal void, leaving the reader akin to the narrator in ‘trying to embrace the untouchable or unnamable’ experience of this mercurial text.
Blood Red by Gabriela Ponce; Translated by Sarah Booker. Dead Ink, January 2024 (Restless Books, 2022).
Reviewer bio: Jennifer Brough is a slow writer and workshop facilitator. Her work has appeared in Ache Magazine, Eunoia Review, SICK Magazine, Artsy, Barren Magazine, among others. Jennifer is writing her first poetry pamphlet, Occult Pain and was shortlisted for the Disabled Poets Prize’s Best Single Poem 2023.
I don’t always read front matter, but with Ben Terry’s Near Where the Blood Pools: A Novel in Verse, I’m glad I did. There’s a character list organized around Cephas, older brother to Hope, a young girl who disappears. The cast includes Memphis, a Seer; Church ladies; and a can of ashes. I was intrigued.
In the author’s note, Terry illustrates a span of roughly twelve years before and after Hope’s disappearance: Hope Exists — Losing Hope — Hope Gone — What Remains
Calling attention to the timeframe of each poem requires readers to mind where each speaker is along this path. In addition to Hope’s family, treasure hunters trawl old pig farms. Bones sing. Menfolk go to jail.
Terry is currently incarcerated; his poems about prison are pithy and authentic. The reader frequently stumbles over exquisite lines, such as: “Memphis parted his lips to speak / and from them poured coal / and ash and water and time.” And from Marl Mae: “Everything good gets taken. / That’s history straightening up / before the future arrives.”
In a novel in verse, the few words on each page must develop character, place, and plot. It’s a tall challenge. Ben Terry succeeds.
Elizabeth S. Wolf has published five books of poetry, most recently I Am From: Voices from the Mako House in Ghana (2023). Her chapbook Did You Know? was a 2018 Rattle prizewinner. Elizabeth’s poetry appears in multiple journals and anthologies and has received several Pushcart nominations.
The Riddles of the Sphinx: Inheriting the Feminist History of the Crossword Puzzle, Shechtman’s lengthy title and subtitle might make readers think they know what they’re getting when they open her book, but they would be mistaken. While the crossword puzzle is certainly one of Shechtman’s interests, there is much more going on here, for good and ill, depending on what readers are looking for.
If one wants the focus to remain on crossword puzzles, she has an interesting perspective, given that she published her first New York Times crossword puzzle when she was nineteen, and given that she is female. Despite the male-dominated landscape of the CrossWorld today, Shechtman points out several important women who helped shape the development of the puzzle. Similarly, she points out the continued sexism of that CrossWorld, not merely in the fact that most puzzle creators are male, but in the clues and solutions one would see.
If the reader is only looking for a book on crossword puzzles, though, they’ll be disappointed to find that Shechtman spends only about half the book, at best, on that area. Instead, she has written what she refers to near the end of the book as a “memoir wrapped in a cultural history.” The memoir aspect of this book centers around her struggles with anorexia, connecting that to her fascination with crossword puzzles. This part of the book also pulls heavily from feminist theoreticians and Freudian analysis, as Shechtman uses both of those approaches to understand who and how she is. Those sections might push a reader looking for a history of crossword puzzles.
That said, the combination largely works. Shechtman clearly lays out the connections between gender and crosswords and anorexia, helping readers to see how she puzzled her way through her life, in more ways than one.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
The folk music scene of the 1960s through 1990s is as much a character in The Singer Sisters as the many members of the large family whose struggles and conflicts it chronicles. They’re a diverse lot and include once-popular singer Judie Zingerman, her daughter Emma, son Leon, ex-husband Dave Cantor, and sister Sylvia, the other half of the renowned Singer Sisters.
As the story unfolds, generational conflicts emerge and long-held family secrets begin the rise to the surface. The result is a rich and complicated multi-tiered family story, in which bonds are repeatedly tested but never completely unravel. This makes the novel an intergenerational love story, with wholly believable characters whose flaws and insecurities are writ large.
Issues of reproductive justice are skillfully woven into the story, and the political milieu of the times becomes an important, but subtle, backdrop for what is revealed. This is a story about the big stuff – life, death, career aspirations, sexual agency, parenting – but all are handled with a light enough touch to make this a debut to savor.
In addition, insight into what it takes to be a successful musician, the constant travel, the frayed relationships, and the pressure to keep audiences engaged and entertained add heft to the book. Highly recommended.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
The epigraph of Bear comes from the Brothers Grimm fairy tale about Snow-white and Rose-red, setting up Phillips’ modern-day fairy tale about two sisters, so readers should expect a bit of the fantastic. Given the echoes of fairy tales that run throughout the novel, the reader might expect the bear of the title to serve as a symbol or metaphor, perhaps even turning the story into an allegory. However, Phillips avoids that trap, focusing instead on the relationship between Sam and Elena, two sisters roughly a year and a half apart in age. Or, at least, she focuses on Sam’s view of that relationship, as readers get her thoughts on life, but not Elena’s.
They live on an island off the coast of Washington that relies on tourism, and they are struggling to survive. Their mother is sick after years of working in a nail salon, so they have accumulated serious debt. They both have service industry jobs—Elena at the country club and Sam selling concessions on the ferry—leaving them with only the house as an asset, the house where their grandmother lived, then their mother, and now them. Sam is waiting until their mother dies, so they can sell the house and leave the island forever.
In the midst of their day-to-day lives, a bear arrives—an oddity on their island—and they react in opposite ways to its appearance. Their reactions drive the plot, revealing more about them than the reader and they, perhaps, know. Some fairy tales end with a “happily ever after,” leading readers to wonder whether the sisters’ relationship will ever be the same again.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
In violet. Inviolate. In her chapbook In Violet, Margo LaPierre brings her attention to homophones, words that sound the same but have different meanings. From that fine line between sound and definition, the poet inquires: How does a person who has been violated refrain from perpetrating violation? In other words, how does a person committed to nonviolence conduct herself in a violent world?
In Violet’s ten poems are offered to the reader at a conceptual and analytic vantage from the speaker’s traumatic past. The speaker seems to have acknowledged the “system of stress” and has passed into the rage phase. The rage may be rightful and only natural, but it is what is “gripping the body.” The speaker is comfortable enough taking revenge against “all [her] rapists” in her dreams, but fantasizing about it during waking hours causes discomfort. As a result, she seems to switch focus to the “ones [she’s] hurt.” Such is the despairing struggle between “snuffed” and “saved” in the aftermath of trauma. Yet, each phase of recovery is necessary, all of it together a “healing spell.”
On the pages of In Violet, Margo LaPierre brings to color what “lays years upon [a] body” and the lagging “effects of / the stressor.” In the process, the poems of In Violet take some steps away from “villainy.”
In Violet by Margo LaPierre. Anstruther Press, 2024.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize, forthcoming fall 2024, and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe, forthcoming summer 2024 from the Vallum Chapbook Series, and Mind of Spring (Vallum, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices visit her author website.
Abolish Rent: How Tenants Can End the Housing Crisis by Tracy Rosenthal and Leonardo Vilchis is an inspirational text, reminding us that we can do something about gentrification, sky-high rents, and deteriorated living conditions. Although it is short on practical details, the book offers readers an upbeat look at how tenants can amass power by organizing their buildings and then branching out to organize city blocks, as well as whole neighborhoods and even cities. The goal? Better code enforcement, investment in neighborhoods, and controls on rent increases.
Both authors are involved in the Los Angeles Tenants Union and draw on examples of successful organizing to forestall evictions, lower rents, and improve living conditions. But while the book doesn’t address the cost of housing maintenance—that is, if housing was not privately owned and a source of profit, would the government be responsible for providing upkeep and other services? Would the tenants form co-ops and each pay their share of the total?
Despite these deficits, Abolish Rent offers a keenly-drawn alternative to housing for personal gain, with landlords literally operating as Lords of the Land and profiting from their investments. Yes, rent is too damned high, and Abolish Rent reminds us that we can win affordable and accessible housing if we organize to demand it.
Reviewer bio: Eleanor J. Bader is a Brooklyn, NY-based journalist who writes about books and domestic social issues for Truthout, Rain Taxi, The Progressive, Ms. Magazine, the Los Angeles Review of Books, and The Indypendent.
This novel is the second (and possibly last) book in a series Shah began with While She Sleeps. It’s not necessary to have read the first novel to understand this one, though doing so would provide more depth and background on the world Shah has created. While She Sleeps focuses on life in The Green City (a fictional city in what seems to be Southwest Asia). Here, women have multiple husbands due to a nuclear war outside their country, which led to the Virus, which has led to women’s being unable to produce many children who survive. That novel focused on survival, especially for a small group of women who live in the Panah (sanctuary) underground. They serve as companions for the powerful men, not providing sex, but merely lying with the men until they fall asleep, offering an intimacy that has become absent from society.
In The Monsoon War, Shah focuses on resistance, as she moves the action to the mountains outside The Green City. This novel follows three different women—Alia, a wife to three husbands; Katy, a fighter in the Hamiyat (an all-female freedom fighter group); and Fatima Kara, a Commander of one of the Hamiyat units. Instead of merely surviving, these women find ways to try overthrowing the government, risking their lives in open rebellion (unlike the women of the Panah, who risked their lives in more subtle means of rebellion). In fact, all of the villages of the mountain have been quietly rebelling, as they raised their female daughters as male to avoid their being taken by the government and forced to be wives.
Shah points out in her acknowledgements that she drew on female fighters from Iraq, Syria, Afghanistan, and Columbia for much of the inspiration for this work, but she also acknowledges that women throughout the world resist patriarchal domination in a variety of ways. Through this novel, she celebrates that diversity, while reminding readers the work of rebellion is far from done.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
Soldier Sailor, Claire Kilroy’s most recent novel, is clear-eyed in its portrayal of motherhood, especially during the challenging first few years. The mother in this work—known only as Soldier—addresses her son—the Sailor of the title—throughout, explaining to him why she behaved the way she did when he was younger. She tells him that she used to be a different person, and she will be a different person again, but the sleep deprivation and constant demands of raising a young child have changed her, especially in her inability to think clearly.
She could be different if her husband helped with any aspect of her life, whether that’s directly taking care of their son or cooking dinner or doing absolutely anything to make her days easier. Not only does he not help her, he seems oblivious to her feelings and her state of being, and he definitely doesn’t notice the change their marriage has undergone.
Kilroy provides a contrast to Soldier’s husband in a friend she runs into at the playground, somebody who knew her before she had a son, a man who’s taking care of his three children, while his wife works as a doctor. Through that juxtaposition, the reader can clearly see that Kilroy isn’t critiquing men, in general, but the vast majority of them who do little to nothing to participate in the care of their children.
Her main focus, though, is simply on the realities of being a mother, one day after another, with all of the constant demands and the lack of appreciation. That focus is more than enough and more than needed.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
The title of Verble’s latest novel has multiple meanings throughout the work, ranging from the stealing up on somebody when they’re unaware to the theft of land that occurred when colonizers landed on North America to the life that the main character feels has been stolen from her.
Kit, a twelve-year-old Native American girl living in the middle part of the 20th century, tells the story of her life, ranging from when she was six, when her mother died of tuberculosis, to her current situation in a boarding school. That span covers a number of ways Indigenous people have continued to suffer from the colonization of their land. Her mother’s death reveals the poor healthcare; her Uncle Joe is an alcoholic, which ultimately leads to his death; his father, even though he served honorably in World War II (several people in town refer to him as a “war hero”), finds himself in a difficult legal situation due to Kit’s relationship with a new neighbor, Bella; the court puts Kit in a boarding school rather than with her family, trusting the state over her true relations.
Readers who are aware of what Native American children suffered at those schools won’t be surprised by what happens to Kit and her peers there. What they might be surprised by, though, is Kit’s resilience. As her relatives consistently remind her, they survived the Trail of Tears, so they can survive anything. Though the dominant white society tries to steal everything Kit values, she holds her true self in her heart, where nobody and nothing is able to take it away from her.
Reviewer bio: Kevin Brown has published three books of poetry: Liturgical Calendar: Poems (Wipf and Stock); A Lexicon of Lost Words (winner of the Violet Reed Haas Prize for Poetry, Snake Nation Press); and Exit Lines (Plain View Press). He also has a memoir, Another Way: Finding Faith, Then Finding It Again, and a book of scholarship, They Love to Tell the Stories: Five Contemporary Novelists Take on the Gospels. Twitter @kevinbrownwrite
In the chapbook à genoux, the “soft words” of Morgan Christie’s poems respond to Virginia Chihota’s intimate, folkloric artworks. à genoux, from the French “on one’s knees,” is the focus of both the poet and the artist who consider the various reasons and calls to bend a knee, ranging from protest to prayer.
Which gesture of kneeling has to do with willing supplication and which power dynamics?
how soundly the reason fumbles from the tellings and retellings
they all took knees before but only when they were told (“—white lines”)
When we “hear someone yell / get down on your knees” we know we are not being told “to pray.” To “recognize the distinction” between “having to bend” and wanting to “means to understand the sacred.” Ultimately, “longing for what is ours is why we keel.”
As Christie is brought to her knees by the history of subjugation, she bows to the strength of family. When “we think of kneeling / we don’t have to be on our own.”
Indeed, in à genoux, Morgan Christie and Virginia Chihota “kneel together” as “the truths” of their words and colors draw a warm “blended bath / of change.”
Gentle Reader, regardless of what Auden wrote, together Morgan Christie’s poetry and Virginia Chihota’s paintings make something happen. So does Black Sunflowers Poetry Press, who made this stunning, full-color chapbook!
à genoux by Morgan Christie; artwork by Virginia Chihota. Black Sunflowers Poetry Press, April 2023.
Reviewer bio: Jami Macarty is the author of The Long Now Conditions Permit, winner of the 2023 Test Site Poetry Series Prize, forthcoming fall 2024, and The Minuses (Center for Literary Publishing, 2020), winner of the 2020 New Mexico/Arizona Book Award – Poetry Arizona. Jami’s four chapbooks include The Whole Catastrophe, forthcoming summer 2024 from the Vallum Chapbook Series, and Mind of Spring (Vallum, 2017), winner of the 2017 Vallum Chapbook Award. To learn more about Jami’s writing, editing, and teaching practices visit her author website.
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In the close-knit community of Hentsbury, racism and the local paper mill’s oppressive control over the town collide in a gripping tale set in the 1990s in southern Arkansas along the fictional Mud River.
Rae-Ann, owner of a convenience store and unofficial mayor of Hentsbury, finds her life intertwined with Vernon’s when a budding romance between them hits an unexpected roadblock. Their love story takes an abrupt turn when chemicals from the mill’s runoff claim the life of Rincon, a young black boy battling acute asthma. In a harrowing failed rescue attempt, Vernon, the plant’s Environmental Officer, relives the trauma of holding the dying boy in his arms.
As the community grapples with this tragedy, Vernon stumbles upon a back-door deal between state and local officials who ask him to suppress critical information about the mill’s dangerous hydrogen sulfide emissions. With the rising tensions, Rae-Ann begins to question whether Vernon will stand by his principles.
In the end, it’s Rincon’s determined grandmother, along with Rae-Ann and her older sister, who rallies the town to take action. Their efforts lead to the arrival of an EPA investigatory team, but not without consequences. When the dust settles, Vernon loses his job, but he and Rae-Ann embark on a new chapter in life together.
