Editor's Picks New Book Arrivals (251)
Safe Space takes back its title from the term’s intentional misuse within the neo-liberal/conservative imaginary, but this action can offer a reader only the slightest indication of the nervy energy pulsing within this first full-length collection by Jos Charles. Throughout the poems in Safe Space, Charles defiantly articulates the terms of a radicalized vulnerability––unashamed to feel and never feeling ashamed, reclaiming agency over both poetry and politics, refusing to placate any authority attempting to control bodies with violence. The collection dazzles and devastates, confronting a world whose ruin is long overdue with equal parts glee and sadness, compassion and power.
A high mountain lake in the Colorado Rockies is the point of departure for these stories of dark adventure, in which vividly drawn landscapes provide an immersive setting for narratives about coming of age, altered states, moral slippage, romantic love, sexual jealousy, and impenetrable loneliness. Fishing guides, amateur sportsmen, teenage misfits, scientists, mountaineers, and expatriates embark on disquieting journeys of self-discovery in far-flung places: the hazardous tidal waters of Nantucket, the granite quarries and ski slopes of New Hampshire, Venezuela's Orinoco basin, the ancient squares and alleyways of Rome and Granada, the summit of an Andean volcano, and the tension-filled streets of eastern Cuba.
"[Ghost Town Odes] renders forgotten towns un-forgotten. With vivid imagery and music, [Matt Schumacher] re-members, he re-embodies them onto pages of a poetic atlas. Here, a grateful reader also discovers tales about saloons and cemeteries, Great Plains buffalo and a pot-bellied pig, wild huckleberries and the bits of wedding cake fed to a deer. In one of the book's four sections, Schumacher offers epistolary persona poems that give a panoply of candid and often wrenching histories, laments, confessions, and revelations. The chronological and geographical scope of this collection is impressive." -- Paulann Petersen, Oregon Poet Laureate Emerita
Inside the Walls of My Own House is the second book of a multi-volume experiment in autobiography. It's a diary poem and an ode to lost television artifacts. Trigilio is watching all 1,225 episodes of Dark Shadows, the 1966-1971 gothic soap opera. He's compsing on sentence for each episode and shaping the sentences into couplets. Book 2 covers 181 episodes.
The poems in Inside Job range from intensely autobiographical lyrics to brief historical portraits of literary figures like Grace Paley and Jorge Luis Borges, to obituaries of idiosyncratic characters such as heavyweight boxing contenders and inventors of candy bars. The tone is often wry, sometimes wistful, and always compassionate.
Roam marks a migration: back, forward, and round again. Who stays? Who is allowed to roam? What is fixed? And who is with us? How do we make sense of loss, silence? Disoriented, relating to a past that is unclear, we cannot be sure both where we are and which direction we're moving. The question becomes where is the future? Roam proceeds toward it—making something integral come alive.
Contrary to the book's title, Let It Die Hungry is a collection of poems bursting with life. Recklessly sensual, provocative and profoundly curious, Meissner's coming-of-age poems seek to anchor their place in a messy world, blurring the edges of hard borders and disparate identities. Sprinkled with the author's illustrations, the book's multidisciplinary approach also includes lesson plans, originally utilized in a women's prison, that invite the reader to write their own way out of polarizing dichotomies—and into the vast grey space of what it means to be alive.
Dead birds are falling out of the sky and Maurice Delahoussaye suspects the air in New Orleans may be unsafe. Maurice becomes increasingly fearful that the government is hiding an ominous secret, and when he begins having premonitions suggesting that his wife is pregnant with Jesus Christ, he becomes convinced that the dead birds are a sign from God. In the City of Falling Stars is a tragicomedy that examines paranoia following the September 11th attacks, as well as a commentary on the devastating psychological scars that the storm left on New Orleans.
For the characters in these stories, love and music are almost indistinguishable. A famous songwriting duo is destroyed by their creative differences, a jazz musician is consumed by his inability to speak or play, a man takes a pop song literally and charts his love onto buildings. These stories cover songs and riff on melodies. They unearth chords that bridge the gap between past and present. A playful, elegant debut collection, The Great American Songbook explores the profound hold that music has on our lives.
Coming of Age at the End of Nature explores a new kind of environmental writing. Twenty-two essays by passionate, young writers cover wide-ranging themes that are paramount to young generations but that resonate with everyone, including redefining materialism and environmental justice, assessing the risk and promise of technology, and celebrating place anywhere from a wild Atlantic island to the Arizona desert, from Baltimore to Bangkok. The contributors speak with authority on problems facing us all, whether railing against the errors of past generations, reveling in their own adaptability, or insisting on a collective responsibility to do better.
Artistic, rebellious, and unapologetically intelligent, Božena Němcová defied every convention for a woman in mid-nineteenth-century Bohemia. The Bitter Life of Božena Němcová is a biographical collage of found texts, footnotes, fragments, and images by and about the Czech writer. Kelcey Parker Ervick questions the concept of biographical “truth” while also revealing a spellbinding portrait of Němcová. The book’s second section is Parker Ervick’s epistolary memoir of her own failing marriage and her quest for a Czech typewriter, as well as a meditation on reading, writing, and happy endings. The two sections combine to create a book as defiant, enchanting, and complex as its namesake.
Set against turbulent backdrops, this chapbook of short stories features children's voices, free of political influence, to remind the reader of the distilled best of human relationships. With no resources and armed with only loyalty, guts, and tenacity, they risk their lives for their friends in the belief that this is the only right thing to do.
2×6 consists of short “stanzories”—stanzas that are also stories, each one relating an encounter between two people. Appearing in English, French, Spanish, Russian, Japanese, and Polish, (by Nick Montfort, Serge Bouchardon, Andrew Campana, Natalia Fedorova, Carlos León, Alexsandra Małecka, and Piotr Marecki) the stanzories are generated by a similar underlying process, even as they do not correspond to one another the way a translation typically does to a source text. These sixfold verses are generated by six short computer programs, the code of which is also presented in full. Reading the output can be much more difficult, as the text that is produced crosses syntax with power relations and gender stereotypes, multiplying those complexities across six languages.
What Weaponry is the story of a man who moves to a small town with his lover after his parents have died. The couple do not fit neatly into their new environment, and experience many social, emotional, and mental trials. Are the neighbors throwing dirty looks? Are they being watched? Is someone stealing mail? As the situation intensifies, feelings of paranoia deepen, mental and physical brutality grows between them, and their connection to the reality of the outside world falls into rapid decline.