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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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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A virtuosic new poetry collection from Sally Wen Mao, "a consistently inspiring and exciting voice" (Morgan Parker) In The Kingdom of Surfaces, award-winning poet Sally Wen Mao examines art and history-especially the provenance of objects such as porcelain, silk, and pearls-to frame an important conversation on beauty, empire, commodification, and violence. In lyric poems and wide-ranging sequences, Mao interrogates gendered expressions such as the contemporary "leftover women," which denotes unmarried women, and the historical "castle-toppler," a term used to describe a concubine whose beauty ruins an emperor and his empire. These poems also explore the permeability of object and subject through the history of Chinese women in America, labor practices around the silk loom, and the ongoing violence against Asian people during the COVID-19 pandemic. At its heart, The Kingdom of Surfaces imagines the poet wandering into a Western fantasy, which covets, imitates, and appropriates Chinese aesthetics via Chinamania and the nineteenth-century Aesthetic movement, while perpetuating state violence upon actual lives. The title poem is a speculative recasting of "Through the Looking-Glass," set in a surreal topsy-turvy version of the China-themed 2015 Metropolitan Museum of Art Gala. The Kingdom of Surfaces is a brilliantly conceived call for those who recognize the horrors of American exceptionalism to topple the empire that values capital over lives and power over liberation.

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In Ghana's Akan tradition, on the eighth day of life a child is named according to the day of the week on which they were born. This marks their true birth. In Kweku Abimbola's rhapsodic debut, the intimacy of this practice yields an intricately layered poetics of time and body based in Black possibility, ancestry, and joy. While odes and praise songs celebrate rituals of self- and collective-care-of durags, stank faces, and dance-Abimbola's elegies imagine alternate lives and afterlives for those slain by police, returning to naming as a means of rebirth and reconnection following the lost understanding of time and space that accompanies Black death. Saltwater Demands a Psalm creates a cosmology in search of Black eternity governed by Adinkra symbols-pictographs central to Ghanaian language and culture in their proverbial meanings-and rooted in units of time created from the rhythms of Black life.These poems groove, remix, and recenter African language and spiritual practice to rejoice in liberation's struggles and triumphs. Abimbola's poetry invokes the ecstasy and sorrow of saying the names of the departed, of seeing and being seen, of being called and calling back.

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Jim Moore's poems "are chips of reality, obsidian flakes of the heart and mind" (Jane Hirshfield) In his eighth collection, the celebrated poet Jim Moore looks into unrelenting darkness where moments of tenderness and awe illuminate, at times suddenly like lightning in the night, at others, more quietly, as the steady glow of streetlights in a snowstorm. These are poems of both patience and urgency, of necessary attendance and helpless exuberance in the breathing world-something rare in contemporary poetry. Written in Minneapolis amid the COVID-19 pandemic's masked and distanced loneliness, after the police murder of George Floyd, as an empire comes to an end, Prognosis turns toward the living moment as a surprising source of abundance. Here we find instances of essential human connection animated by a saving grace that pulls us back from depression and despair. Contemplating with playful wisdom what it is to brave the later years of one's life, Moore revels in the possibilities of joy and mourns the limits of our capacity to greet the unknown with resolve and wonder. The prognosis Moore foresees demands continued stillness, continued movement: "Also known as going home," he writes. "Also known as getting over yourself."

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In this madcap, insatiably inventive, bravura story collection, Julián Herbert brings to vivid life people who struggle to retain a measure of sanity in an insane world. Here we become acquainted with a vengeful "personal memories coach" who tries to get even with his delinquent clients; a former journalist with a cocaine habit who travels through northern Mexico impersonating a famous author of Westerns; the ghost of Juan Rulfo; a man who discovers music in his teeth; and, in the deliriously pulpy title story, a drug lord who looks just like Quentin Tarantino, who kidnaps a mopey film critic to discuss Tarantino's films while he sends his goons to find and kill the doppelgänger that has colonized his consciousness. Herbert's astute observations about human nature in extremis feel like the reader's own revelations. The antic and often dire stories in Bring Me the Head of Quentin Tarantino depict the violence and corruption that plague Mexico today, but they are also deeply ruminative and layered explorations of the narrative impulse and the ethics of art making. Herbert asks: Where are the lines between fiction, memory, and reality? What is the relationship between power, corruption, and survival? How much violence can a person (and a country) take? The stories in this explosive collection showcase the fevered imagination of a significant contemporary writer.

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God of Nothingness is a book for those who have seen death up close or even quietly wished for it. In these poems, honed to a devastating edge, Mark Wunderlich asks: How is it we go on as those around us die? And why go on at all? This collection is a brilliant testament to the human ability to make something tough-minded and resilient out of despair and the inevitability of death drawing near. Some poems are moving elegies addressed to mentors, friends, and family recently gone; some contend with the unasked-for responsibilities of inheritance and the family name; others call forth the understanding of being the end of a genetic line; still others remember a rural midwestern coming-of-age and, chillingly, an encounter with the serial killer Jeffrey Dahmer. Present all the while are the prevailing comforts and wonders found in the natural world, work, and the longing for traditions that seem to be passing from our time. Exquisite in its craft and capaciousness, God of Nothingness is an unflinching journal of solitude and survival.

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Yi Lei published her poem "A Single Woman's Bedroom" in 1987, when cohabitation before marriage was a punishable crime in China. She was met with major critical acclaim-and with outrage-for her frank embrace of women's erotic desire and her unabashed critique of oppressive law. Over the span of her revolutionary career, Yi Lei became one of the most influential figures in contemporary Chinese poetry. Passionate, rigorous, and inimitable, the poems in My Name Will Grow Wide Like a Tree celebrate the joys of the body, ponder the miracle of compassion, and proclaim an abiding reverence for the natural world. Presented in the original Chinese alongside English translations by Changtai Bi and Pulitzer Prize-winning poet Tracy K. Smith, this collection introduces American readers to a boundless spirit-one "composing an explosion."

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Fugitive Atlas is a sweeping, impassioned account of refugee crises, military occupations, and ecological degradation, an acute and probing journey through a world in upheaval. Khaled Mattawa's chorus of speakers finds moments of profound solace in searching for those lost-in elegy and prayer-even when the power of poetry and faith seems incapable of providing salvation. With extraordinary formal virtuosity and global scope, these poems turn not to lament for those regions charted as theaters of exploitation and environmental malpractice but to a poignant amplification of the lives, dreams, and families that exist within them. In this exquisite collection, Mattawa asks how we are expected to endure our times, how we inherit the journeys of our ancestors, and how we let loose those we love into an unpredictable world.

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The winner of the 2014 Pulitzer Prize in Poetry, now in paperbackFirst I had three apocalyptic visions, each more terrible than the last. The graves open, and the sea rises to kill us all.Then the doorbell rang, and I went downstairs and signed for two packagesfrom This MorningIn an array of poetic forms from the rhyming lyric to the philosophical meditation to the prose essay, 3 Sections confronts perplexing divisions of contemporary lifea wayward history, an indeterminate future, and a perpetual longing to out-think time. This is a vital book by one of America''s best poets.

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A story inside a story inside a story. A man visits his aging father in a nursing home, where his father writes the novel he imagines his son would write. Or is it the novel that the son imagines his father would imagine, if he were to imagine the kind of novel the son would write?Let's simplify: a woman seeks an apprenticeship with a painter, claiming to be his long-lost daughter. A contractor-for-hire named Murphy can't distinguish between the two brothers who employ him. And in Murphy's troubled dreams, Nat Turner imagines the life of William Styron. These narratives twist together with anecdotes from the nursing home, each building on the other until they crest in a wild, outlandish excursion of the inmates led by the father. Anchoring these shifting plotlines is a running commentary between father and son that sheds doubt on the truthfulness of each story. Because, after all, what narrator can we ever trust?Not only is Percival Everett by Virgil Russell a powerful, compassionate meditation on old age and its humiliations, it is an ingenious culmination of Everett's recurring preoccupations. All of his prior work, his metaphysical and philosophical inquiries, his investigations into the nature of narrative, have led to this masterful book. Percival Everett has never been more cunning, more brilliant and subversive, than he is in this, his most important and elusive novel to date.

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Svoboda''s uncle was a former military policeman in U.S. occupied Japan who boasted a washboard stomach even at age 80. He loved telling war stories until the news of Abu Ghraib reached him, after which he fell into a severe depression. The tapes on which he was recording his memoirs ended abruptly with his suicide, sparking Svoboda''s interest in her uncle''s history and her investigative trip to Japan where she conducted extensive research on her uncle''s experiences as an MP in Japan, including his shocking claim that Americans were executed by their own countrymen.

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Coomer is clearly an author of serious talent. The Washington Post Book WorldInhabiting an island off the coast of Maine left to her by her great-uncle Arno, Hannah finds her life as a dedicated and solitary artist rudely interrupted one summer when a dog, matted with feathers and seaweed, arrives with the tide. He is only the first of a series of unexpected visitors and is soon followed by a teenager running from an abusive father, a half sister in trouble, a mainland family, and a forlorn trapped whale. In the engrossing drama that unfolds, Hannah''s love of her island solitude competes with her instinctive compassion for others.In this booksellers'' favorite and two-time Book Sense pick, now available in paperback, Joe Coomer offers the rugged yet stunning beauty of Maine and the lobstermen and their families who are dependent on the sea for survival. Pocketful of Names is a deeply human tale about the unpredictability of nature, art, family, and the

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An extraordinary debut taking Audrey Hepburn as the Muse for a series of meditations on the seductions of screen and stage. Campana''s poems are haunted by Hepburn, her leading men and a fascinating array of literary spectres - Catullus, Petrarch, Chaucer, Spencer, Foucault and Barthes. His writing blurs surfaces of prose and poetry, mingling the two until each wears the other''s face. This is startling writing, fine and beautifully complex.

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The debut collection by the Poet Laureate of the United States* Winner of the 2002 Cave Canem Poetry Prize *You are pure appetite. I am pureAppetite. You are a phantomIn that far-off city where daylightClimbs cathedral walls, stone by stolen stone.--from Self-Portrait as the Letter YThe Body''s Question by Tracy K. Smith received the 2002 Cave Canem Poetry Prize for the best first book by an African-American poet, selected by Kevin Young. Confronting loss, historical intersections with race and family, and the threshold between childhood and adulthood, Smith gathers courage and direction from the many disparate selves encountered in these poems, until, as she writes, I was anyone I wanted to be.

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In Oculus, Sally Wen Mao explores exile not just as a matter of distance and displacement, but as a migration through time and a reckoning with technology. The title poem follows a girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence speaks in the voice of international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of colour are made to endure in order to survive a culture that seeks to consume them.

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The first Graywolf Press African Fiction Prize winner, a story of a girl's fantastical sea voyage to rescue her father The House of Rust is an enchanting novel about a Hadrami girl in Mombasa. When her fisherman father goes missing, Aisha takes to the sea on a magical boat made of a skeleton to rescue him. She is guided by a talking scholar's cat (and soon crows, goats, and other animals all have their say, too). On this journey Aisha meets three terrifying sea monsters. After she survives a final confrontation with Baba wa Papa, the father of all sharks, she rescues her own father, and hopes that life will return to normal. But at home, things only grow stranger. Khadija Abdalla Bajaber's debut is a magical realist coming-of-age tale told through the lens of the Swahili and diasporic Hadrami culture in Mombasa, Kenya. Richly descriptive and written with an imaginative hand and sharp eye for unusual detail, The House of Rust is a memorable novel by a thrilling new voice.

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The Renunciations is a book of resilience, survival, and the journey to radically shift one's sense of self in the face of trauma. Moving between a childhood marked by love and abuse and the breaking marriage of that adult child, Donika Kelly charts memory and the body as landscapes to be traversed and tended. These poems construct life rafts and sanctuaries even in their most devastating confrontations with what a person can bear, with how families harm themselves. With the companionship of "the oracle"-an observer of memory who knows how each close call with oblivion ends-the act of remembrance becomes curative, and personal mythologies give way to a future defined less by wounds than by possibility. In this gorgeous and heartrending second collection, we find the home one builds inside oneself after reckoning with a legacy of trauma-a home whose construction starts "with a razing."

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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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