Search results for ""Graywolf Press,U.S.""

When Paul Lisicky arrived in Provincetown in the early 1990s, he was leaving behind a history of family trauma to live in a place outside of time, known for its values of inclusion, acceptance, and art. In this idyllic haven, Lisicky searches for love and connection and comes into his own as he finds a sense of belonging. At the same time, the center of this community is consumed by the AIDS crisis, and the very structure of town life is being rewired out of necessity: What might this utopia look like during a time of dystopia? Later dramatizes a spectacular yet ravaged place and a unique era when more fully becoming one's self collided with the realization that ongoingness couldn't be taken for granted, and staying alive from moment to moment exacted absolute attention. Following the success of his acclaimed memoir, The Narrow Door, Lisicky fearlessly explores the body, queerness, love, illness, community, and belonging in this masterful, ingenious new book.

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At once complex and hideous, sexually liberated and sympathetic to the darkest of political movements, the narrator describes her childhood as the daughter of a member of the right-wing Finnish Whites before World War II, and the way she became involved with and eventually married the Colonel, who was thirty years her senior. During the war, he came and went as they fraternized with the Nazi elite and retreated together into the deepest northern wilds. As both the marriage and the war turn increasingly dark and destructive, Rosa Liksom renders a complex and unsavory character in a prose style that is striking in its paradoxical beauty. The Colonel’s Wife is both a brilliant portrayal of an individual psychology and a stark warning about the perils of nationalism.

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Young's first book of prose on poetry is more than just another illuminating instalment of Graywolf's popular Art Of series - it's a manifesto. In it, Young makes a moving and sincere argument for the importance of what he calls recklessness' in art and poetry. 'Poetry is not a discipline,' he writes. 'It's a hunger, a revolt, a drive, a mash note, a fright, a tantrum, a grief, a hoax, a debacle, an application, an affect. We cannot make the gods come. All we can do is sweep the steps of the temple and thus we sit down to our desks.''

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Gossipy, heartfelt and lyrically alluring, The Stranger Manual is a raucous and seductive new collection of poetry from the author of the acclaimed and outspoken My Favorite Apocalypse (Graywolf Press, 2001). Rosemurgy''s second collection is a wild rush across America. Many of the poems follow a kind of alter ego - named Miss Peach - through a sorrowful history of illness, bad decisions and inopportune love.

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The world of Jeffery Renard Allen''s stunning short-story collection is a place like no other. A recognisable city, certainly, but one in which a man might sprout wings or copper pennies might fall from the skies on to one''s head. Yet these are no fairy tales. The hostility and pain is all too human. Holding Pattern is a captivating collection by a prodigiously talented writer.

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An intimate discussion of the landscape of the American West and the challenges of ownership, environmental crises, and greed. Kittredge describes his contradictory relationship to the spare and often unforgiving western landscape through these luminous essays that move from the personal to the political. Kittredge is intimately connected with the West through his family''s Oregon cattle ranch, and he has watched his region decline for many decades now. These essays directly address environmental concerns, and the problematic mythologies of the western experience.

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Renowned painter and sculptor Dorothea Tanning imagines and realises a collage of surreal wit, formal inventiveness, and urban and whimsical visuals. ''Oh, we were primed like canvas'', she writes in one poem, and every page in this remarkable debut becomes a unique experience to gaze and wonder with this artisit''s imaginitive, roving eye. We are made to see more clearly, more forcefully the city landscape, the creative impulse, and the words of potential disaster and sensual erotics with a vision that survives taste, trend and time.

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Legendary poet Elizabeth Alexander turns her finely-honed sensibilities to the subject of blackness and the interior world of the modern African-American. Intelligent, perceptive and keenly observed, this collection of essays traces a thoughtful path through music, poetry and the outstanding social issues of the last 200 years to synthesise a remarkable picture of the modern African-American psyche. From Langston Hughes to the Rodney King video, Alexander leads her reader effortlessly over the complex terrain of art and politics to a new vision of the black interior.

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In Cocktails, poems both harrowing and beautiful strive toward redemption and light within the transformative and often conflicting worlds of the cocktail lounge, the cinema and the Gospels. Powell''s third collection (following Tea and Lunch) completes a contemporary Divine Comedy born of the AIDS pandemic and is delivered with wit and eloquence.

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What if Molly took center stage in James Joyce''s Ulysses? What if she lived in suburban America? The House on Eccles RoadIt is June 16, 1999, in Dublin, Ohio, and Molly wanders through her empty day while her husband, Leo, tends to a strict and busy professor''s schedule. On the surface of her thoughts, Molly wonders: Will he remember their anniversary? And how many hints should she give him? As Molly and Leo circle each other throughout the day, Judith Kitchen illuminates the scope of Leo and Molly''s life together detail by detail. Molly is offended by the hot June day, hums Irish tunes, considers an old love; Leo thinks about his star pupil, young girls at the tennis court, his aging father. Both, if differently, mourn the loss of their four-year-old son eight years ago.In this momentous novel, Kitchen weaves these and other voices into the tapestry of a single day, an ordinary day in the lives of ordinary people, yet a day that, by g

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'In these insightful essays, even the writing itself is cinematic as Sprengnether's memories and quick film summaries meld into one another, making it seem as if the author hasn't just seen many movies, but has actually lived one.' - Publishers Weekly In this fascinating memoir, Srengnether looks at the interactions between happenings in the present, troubling events from the past, and the fantasies of the individual dreamer -in this case the individual moviegoer.

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Stephanie Burt's poems in We Are Mermaids are never just one thing. Instead, they revel in their multiplicity, their interconnectedness, their secret powers to become much more than they at first seem. In these poems, punctuation marks make arguments for their utility and their rights to exist. Frozen isn't simply another Disney animated musical but "the Most Trans Movie Ever." Mermaids, werewolves, and superheroes don't just fret over divided natures and secret identities, but celebrate their wholeness, their unique abilities, and their erotic potential. Flowers in this collection bloom into exactly what they are meant to be-revealing themselves, like bleeding hearts, beyond their given names. With humor and insight, Burt's poems have always cherished and examined the things of this world, both real and imagined objects of fascination and desire. In this resplendent new collection, her observation and care flourish into her most fulfilled book yet. These poems shake off indecisiveness and doubt to reach joys through romance and family, through nature (urban and otherwise), and through imaginative community. We Are Mermaids is a trans book, a fangirl book, a book about coming together. It's also Burt's best book.

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A resplendent life in sonnets from the author of Four-Legged Girl, a finalist for the Pulitzer Prize "The sonnet, like poverty, teaches you what you can do / without," Diane Seuss writes in this brilliant, candid work, her most personal collection to date. These poems tell the story of a life at risk of spilling over the edge of the page, from Seuss's working-class childhood in rural Michigan to the dangerous allures of New York City and back again. With sheer virtuosity, Seuss moves nimbly across thought and time, poetry and punk, AIDS and addiction, Christ and motherhood, showing us what we can do, what we can do without, and what we offer to one another when we have nothing left to spare. Like a series of cels on a filmstrip, frank: sonnets captures the magnitude of a life lived honestly, a restless search for some kind of "beauty or relief." Seuss is at the height of her powers, devastatingly astute, austere, and-in a word-frank.

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Shaped around moments of puncture and release, The Rupture Tense registers what leaks across the breached borders between past and future, background and foreground, silence and utterance. In polyphonic and formally restless sequences, Jenny Xie cracks open reverberant, vexed experiences of diasporic homecoming, intergenerational memory transfer, state-enforced amnesia, public secrecies, and the psychic fallout of the Chinese Cultural Revolution. Across these poems, memory-historical, collective, personal-stains and erodes. Xie voices what remains irreducible in our complex entanglements with familial ties, language, capitalism, and the histories in which we find ourselves lodged. The Rupture Tense begins with poems provoked by the photography of Li Zhensheng, whose negatives, hidden under his floorboards to avoid government seizure, provide one of the few surviving visual archives of the Chinese Cultural Revolution, and concludes with an aching elegy for the poet's grandmother, who took her own life shortly after the end of the Revolution. This extraordinary collection records the aftershocks and long distances between those years and the present, echoing out toward the ongoing past and a trembling future.

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While the spectacle of state violence fleetingly commands a collective gaze, Civil Service turns to the quotidian where political regimes are diffusely maintained-where empire is the province of not a few bad actors, but of all who occupy and operate the state. In these poems populated by characters named for their occupations and mutable positions of power-the Accountant, the Intern, the Board Chair-catastrophic events recede as the demands and rewards of daily life take precedence. As a result, banal authorizations and personal compromises are exposed as the ordinary mechanisms inherent to extraordinary atrocity. Interwoven with bureaucratic encounters are rigorous studies of how knowledge is produced and contested. One sequence imagines an interrogation room in which a captive, Amira, refuses the terms of the state's questioning. The dominant meanings of that space preclude Amira's full presence, but those conditions are not fixed. In a series of lectures, traces of that fugitive voice emerge as fragmentary declarations, charging the reader to dwell beside it and transform meaning such that Amira might be addressed. In this astonishing debut, Claire Schwartz stages the impossibility of articulating freedom in a nation of prisons. Civil Service probes the razor-thin borders between ally and accomplice, surveillance and witness, carcerality and care-the lines we draw to believe ourselves good.

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Tom Sleigh's poems are skeptical of the inevitability of our fate, but in this brilliant new collection, they are charged with a powerful sense of premonition, as if the future is unfolding before us, demanding something greater than the self. Justice is a prevailing force, even while the poems are fully cognizant of the refugee crisis, war, famine, and the brutal reality of a crowded hospital morgue. The King's Touch collides the world of fact and the world of mystery with a resolutely secular register. The title poem refers to the once-held belief that the king, as a divine representative, is imbued with the power of healing touch. Sleigh turns this encounter between illness and human contact toward his own chronic blood disease and the ongoing COVID-19 pandemic and its mounting death tolls. One poem asks, "isn't it true that no matter how long you / wear them, masks don't grieve, only faces do?" In this essential new work, Sleigh shows how the language of poetry itself can revive and recuperate a sense of a future under the conditions of violence, social unrest, and global anxiety about the fate of the planet.

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No one blends ironic intelligence, emotional frankness, radical awareness, and intricate humor the way Vijay Seshadri does. His fourth collection takes on the paradoxes of time and space, destabilizing highly tuned lyrics and elegies with sharp and exquisite turns in poems steeped in the complexities of being a self in the world, and being a human among other humans. In these poems, Seshadri's speaker becomes the subject, the reader becomes the writer, and the multiplying refracted narratives yield an "anguish so pure it almost / feels like joy." That Was Now, This Is Then affirms Seshadri's place as one of America's greatest living poets.

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A stunningly ambitious, prescient novel about madness, generational trauma, and cultural breakdown At the outset of the 2008 financial crisis, Em has a dependable, dull marketing job generating reports of vague utility while she anxiously waits to hear news of her sister, Ad, who has gone missing-again. Em's days pass drifting back and forth between her respectably cute starter house (bought with a "responsible, salary-backed, fixed-rate mortgage") and her dreary office. Then something unthinkable, something impossible, happens and she begins to see how madness permeates everything around her while the mundane spaces she inhabits are transformed, through Lucy Corin's idiosyncratic magic, into shimmering sites of the uncanny. The story that swirls around Em moves through several perspectives and voices. There is Frank, the tart-tongued, failing manager at her office; Jack, the man with whom Frank has had a love affair for decades; Em and Ad's eccentric parents, who live in a house that is perpetually being built; and Tasio, the young man from Chiapas who works for them and falls in love with Ad. Through them Corin portrays porousness and breakdown in individuals and families, in economies and political systems, in architecture, technology, and even in language itself. The Swank Hotel is an acrobatic, unforgettable, surreal, and unexpectedly comic novel that interrogates the illusory dream of stability that pervaded early twenty-first-century America.

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A reinvestigation of chemical biological weapons dropped on the Hmong people in the fallout of the Vietnam War In this staggering work of documentary, poetry, and collage, Mai Der Vang reopens a wrongdoing that deserves a new reckoning. As the United States abandoned them at the end of the Vietnam War, many Hmong refugees recounted stories of a mysterious substance that fell from planes during their escape from Laos starting in the mid-1970s. This substance, known as "yellow rain," caused severe illnesses and thousands of deaths. These reports prompted an investigation into allegations that a chemical biological weapon had been used against the Hmong in breach of international treaties. A Cold War scandal erupted, wrapped in partisan debate around chemical arms development versus control. And then, to the world's astonishment, American scientists argued that yellow rain was the feces of honeybees defecating en masse-still held as the widely accepted explanation. The truth of what happened to the Hmong, to those who experienced and suffered yellow rain, has been ignored and discredited. Integrating archival research and declassified documents, Yellow Rain calls out the erasure of a history, the silencing of a people who at the time lacked the capacity and resources to defend and represent themselves. In poems that sing and lament, that contend and question, Vang restores a vital narrative in danger of being lost, and brilliantly explores what it means to have access to the truth and how marginalized groups are often forbidden that access.

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Winner of the Graywolf Press Nonfiction Prize, a lyrical meditation on family, place, and inheritance Names for Light traverses time and memory to weigh three generations of a family's history against a painful inheritance of postcolonial violence and racism. In spare, lyric paragraphs framed by white space, Thirii Myo Kyaw Myint explores home, belonging, and identity by revisiting the cities in which her parents and grandparents lived. As she makes inquiries into their stories, she intertwines oral narratives with the official and mythic histories of Myanmar. But while her family's stories move into the present, her own story-that of a writer seeking to understand who she is-moves into the past, until both converge at the end of the book. Born in Myanmar and raised in Bangkok and San Jose, Myint finds that she does not have typical memories of arriving in the United States; instead, she is haunted by what she cannot remember. By the silences lingering around what is spoken. By a chain of deaths in her family line, especially that of her older brother as a child. For Myint, absence is felt as strongly as presence. And, as she comes to understand, naming those absences, finding words for the unsaid, means discovering how those who have come before have shaped her life. Names for Light is a moving chronicle of the passage of time, of the long shadow of colonialism, and of a writer coming into her own as she reckons with her family's legacy.

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An unnamed woman checks into a guesthouse in a mysterious district known only as the Subdivision. The guesthouse's owners, Clara and the Judge, are welcoming and helpful, if oddly preoccupied by the perpetually baffling jigsaw puzzle in the living room. With little more than a hand-drawn map and vague memories of her troubled past, the narrator ventures out in search of a job, an apartment, and a fresh start in life. Accompanied by an unusually assertive digital assistant named Cylvia, the narrator is drawn deeper into an increasingly strange, surreal, and threatening world, which reveals itself to her through a series of darkly comic encounters reminiscent of Gulliver's Travels. A lovelorn truck driver . . . a mysterious child . . . a watchful crow. A cryptic birthday party. A baffling physics experiment in a defunct office tower where some calamity once happened. Through it all, the narrator is tempted and manipulated by the bakemono, a shape-shifting demon who poses a distinctly terrifying danger. Harrowing, meticulous, and deranged, Subdivision is a brilliant maze of a novel from the writer Kelly Link has called "a master of the dark arts." With the narrative intensity and mordant humor familiar to readers of Broken River, J. Robert Lennon continues his exploration of the mysteries of perception and memory.

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It is 1984 in Chile, in the middle of the Pinochet dictatorship. A member of the secret police walks into the office of a dissident magazine and finds a reporter, who records his testimony. The narrator of Nona Fernández’s mesmerizing and terrifying novel The Twilight Zone is a child when she first sees this man’s face on the magazine’s cover with the words “I Tortured People.” His complicity in the worst crimes of the regime and his commitment to speaking about them haunt the narrator into her adulthood and career as a writer and documentarian. Like a secret service agent from the future, through extraordinary feats of the imagination, Fernández follows the “man who tortured people” to places that archives can’t reach, into the sinister twilight zone of history where morning routines, a game of chess, Yuri Gagarin, and the eponymous TV show of the novel’s title coexist with the brutal yet commonplace machinations of the regime. How do crimes vanish in plain sight? How does one resist a repressive regime? And who gets to shape the truths we live by and take for granted? The Twilight Zone pulls us into the dark portals of the past, reminding us that the work of the writer in the face of historical erasure is to imagine so deeply that these absences can be, for a time, spectacularly illuminated.

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Guillotine traverses desert landscapes cut through by migrants, the grief of loss, betrayal's lingering scars, the border itself-great distances in which violence and yearning find roots. Through the voices of undocumented immigrants, border patrol agents, and scorned lovers, the award-winning poet Eduardo C. Corral writes dramatic portraits of contradiction, survival, and a deeply human, relentless interiority. With extraordinary lyric imagination, these poems wonder about being unwanted or renounced. What do we do with unrequited love? Is it with or without it that we would waste away? In the sequence "Testaments Scratched into Water Station Barrels," with Corral's seamless integration of Spanish and English, poems curve around the surfaces upon which they are written, overlapping like graffiti left by those who may or may not have survived crossing the border. A harrowing second collection, Guillotine solidifies Corral's place in the expanding ecosystem of American poetry.

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A name for the people of Honduras, Catrachos is a term of solidarity and resilience. In these unflinching, riveting poems, Roy G. Guzmán reaches across borders-between life and death and between countries-invoking the voices of the lost. Part immigration narrative, part elegy, and part queer coming-of-age story, Catrachos finds its own religion in fantastic figures such as the X-Men, pop singers, and the "Queerodactyl," which is imagined in a series of poems as a dinosaur sashaying in the shadow of an oncoming comet, insistent on surviving extinction. With exceptional energy, humor, and inventiveness, Guzmán's debut is a devastating display of lyrical and moral complexity-an introduction to an immediately captivating, urgently needed voice.

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The newest collection from "one of America's most dazzling poets" (O, The Oprah Magazine) Set in transit even as they investigate the transitory, the cinematic poems in Love and I move like a handheld camera through the eternal, the minds of passengers, and the landscapes of Ireland and America. From this slight remove, Fanny Howe explores the edge of "pure seeing" and the worldly griefs she encounters there, cast in an otherworldly light. These poems layer pasture and tarmac, the skies above where airline passengers are compressed with their thoughts and the ground where miseries accumulate, alongside comedies, in the figures of children in a park. Love can do little but walk with the person and suddenly vanish, and that recurrent abandonment makes it necessary for these poems to find a balance between seeing and believing. For Howe, that balance is found in the Word, spoken in language, in music, in and on the wind, as invisible and continuous lyric thinking heard by the thinker alone. These are poems animated by belief and unbelief. Love and I fulfills Howe's philosophy of Bewilderment.

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Be Recorder offers readers a blazing way forward into an as yet unmade world. The many times and tongues in these poems investigate the precariousness of personhood in lines that excoriate and sanctify. Carmen Gimenez Smith turns the increasingly pressing urge to cry out into a dream of rebellion - against compromise, against inertia, against self-delusion, and against the ways the media dream up our complacency in an America that depends on it. This reckoning with self and nation demonstrates that who and where we are is as conditional as the fact of our compliance: “Miss America from sea to shining sea / the huddled masses have a question / there is one of you and all of us.” Be Recorder is unrepentant and unstoppable, and affirms Giménez Smith as one of the most vital and vivacious poets of our time.

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Early in the twentieth century, amid the myths of progress and modernity that underpinned Mexico’s ruling party, some three hundred Chinese immigrants - close to half of the Cantonese residents of the newly founded city of Torreón - were massacred over the course of three days. It is considered the largest slaughter of Chinese people in the history of the Americas, an attempted extermination that was followed by denial or empty statements of regret. The massacre reverberated briefly before fading from collective memory. More than a century later, the facts continue to be elusive, mistaken, and repressed. “And what do you know about the Chinese people who were killed here?” Julián Herbert asks anyone who will listen. An exorcism of persistent and discomfiting ghosts, The House of the Pain of Others attempts a reckoning with the 1911 massacre. Blending reportage, personal reflection, essay, and academic treatise, Herbert talks to taxi drivers and historians, travels to the scene of the crime, and digs deep into archives that contain conflicting testimony. Looping, digressive, and cinematic, this crónica vividly portrays the historical context as well as the lives of the perpetrators and victims of the “small genocide.” It is a distinctly twenty-first-century sort of Western, a tremendous literary performance that extends and enlarges the accomplishments of a significant international writer.

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A preternaturally gifted pianist, Satomi lives with her elusive mother in a tiny northern Japanese town. Her fall from grace is echoed in the life of her daughter, Rumi, who unleashes a ghost she must chase from foggy San Francisco to a Buddhist temple atop Japan''s icy Mount Doom. Written in strikingly unusual prose that manages to be simultameously sharp and lush, Picking Bones From Ash examines the power and limitations of female talent in a globalised world.

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Sarah''s Aunt Edna paints portraits of chairs. The old house is filled with the paintings and the chairs themselves surround her work - a silent yet vigil audience. At the funeral of Grandma Hutton, who Edna had cared for through her terminal illness, Sarah begins helping her aunt clean up the last of a life. This includes honouring Grandma''s surprising wish to have her ashes scattered in Scotland. As the novel moves from the oppressive heat of Texas to the misty beauty of Scotland, Sarah comes to learn about Edna''s remarkable secret life on a journey of discovery.

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Acclaimed critic Sven Birkets decided to reinvest himself in the books that formed the landmarks of his inner life. In his words, ''Reading, the mind''s traffic in signs and signifiers, is the most dynamic, changeful and possibly transformational act we can imagine.'' By returning to the light-posts which marked his formative years, Birkets dissects the foundations themselves, finding strange sediments of self: of time, of memory, of the forming and ever-changing processes of intellectual life.

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A bestseller in France, this novel is a breathless story of love and survival in war-torn Algeria past and present. As Anna and Nasreddine, beaten by time and memory, circle each other in a country where terrorism and government corruption is commonplace, Benmalek shows with heart-wrenching detail that love can endure even the most inhuman conditions.

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An exceptional new collection of short stories by Percival Everett, author of the highly praised and wickedly funny novel Erasure. An artist, a cop, a cowboy, several fly fishermen and even a reluctant romance novelist inhabit these revealing and often hilarious stories. An old man ends up in a high-speed chase with the cops after stealing the car that blocks the garbage bin at his apartment building. A stranger gets a job at a sandwich shop and fixes everything in sight: a manual mustard dispenser, a mouthful of crooked teeth, thirty-two parking tickets and a sexual identity problem.

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In Fat Time and Other Stories, Jimi Hendrix, Francis Bacon, the boxer Jack Johnson, Miles Davis, and a space-age Muhammad Ali find themselves in the otherworldly hands of Jeffery Renard Allen, reimagined and transformed to bring us news of America in the twentieth and twenty-first centuries. Along with them are characters of Allen’s invention: two teenagers in an unnamed big city who stumble through a down-low relationship; an African preacher visits a Christian religious retreat to speak on the evils of fornication in an Italian villa imported to America by Abraham Lincoln; and an albino revolutionary who struggles with leading his people into conflict. The two strands in this brilliant story collection—speculative history and tender, painful depictions of Black life in urban America—are joined by African notions of circular time in which past, present, and future exist all at once. Here the natural and supernatural, the sacred and the profane, the real and fantastical, destruction and creation are held in delicate and tense balance. Allen’s work has been said to extend the tradition of Ralph Ellison, William Faulkner, Henry Roth, and Ishmael Reed, but he is blazing his own path through American literature. Fat Time and Other Stories brilliantly shows the range and depth of his imagination.

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In the aftermath of the Arab Spring, an Egyptian American woman and a man from the village of Shobrakheit meet at a café in Cairo. He was a photographer of the revolution, but now finds himself unemployed and addicted to cocaine, living in a rooftop shack. She is a nostalgic daughter of immigrants "returning" to a country she's never been to before, teaching English and living in a light-filled flat with balconies on all sides. They fall in love and he moves in. But soon their desire-for one another, for the selves they want to become through the other-takes a violent turn that neither of them expected. A dark romance exposing the gaps in American identity politics, especially when exported overseas, If an Egyptian Cannot Speak English is at once ravishing and wry, scathing and tender. Told in alternating perspectives, Noor Naga's experimental debut examines the ethics of fetishizing the homeland and punishing the beloved . . . and vice versa. In our globalized twenty-first-century world, what are the new faces (and races) of empire? When the revolution fails, how long can someone survive the disappointment? Who suffers and, more crucially, who gets to tell about it?

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Raised by Wolves is a unique and vibrant gathering of poems from Graywolf Press's fifty years. The anthology is conceived as a community document: fifty Graywolf poets have selected fifty poems by Graywolf poets, offering insightful prose reflections on their selections. What arises is a choral arrangement of voices and lineages across decades, languages, styles, and divergences, inspiring a shared vision for the future. Included here are established and emerging poets, international poets and poets in translation, and many of the most significant poets of our time. There are extraordinary pairings: Tracy K. Smith on Linda Gregg; Vijay Seshadri on Tomas Tranströmer, translated by Robert Bly; Natalie Diaz on Mary Szybist; Diane Seuss on D. A. Powell; Elizabeth Alexander on Christopher Gilbert; Ilya Kaminsky on Vénus Khoury-Ghata, translated by Marilyn Hacker; Mai Der Vang on Larry Levis; Layli Long Soldier on Solmaz Sharif; Solmaz Sharif on Claudia Rankine. In these poets' championing of others, fascinating threads emerge: Stephanie Burt writes on Monica Youn, who selects Harryette Mullen, who writes on Liu Xiaobo, translated by Jeffrey Yang, who chooses Fanny Howe, who writes on Carl Phillips, who selects Danez Smith, who chooses Donika Kelly, who writes on Natasha Trethewey. With an introduction by Graywolf publisher Carmen Giménez, Raised by Wolves is an echoing outward of poetry's possibilities.

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