Search results for ""red hen press""

When William Fox, a TV writer on location in Florida, is dragged by his show’s toxic producers to a “gentleman's club” that’s just appeared outside town, he meets Nicole, a mysterious dancer who claims to be an anthropologist searching for signs of rational life on Earth.Enchanted by her both playful and serious ideas exploring love, limerence, power, monkey behavior, paintball combat, creativity, and the dilemma of a rational mind compelled to serve an animal’s body by feeding it fantasies, Will falls in love—and his ever more troubled love-struck behavior and the acidly destructive battles among his producers and network executives during the production of his show soon begin to illustrate Nicole’s theories. Nicole is charmingly romantic on a cruise up the Space Coast, but nothing about her seems authentic. After she warns she’ll soon leave and his producers are humbled by an uncanny encounter with the police, Will begins to wonder, is Nicole staging real world events with him and the producers as her experimental subjects? And if so, can he discover her true identity, learn the lessons she’s trying to teach, and earn her love before he loses her forever?

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“I sew myself together / again and again” in urgent vulnerability, H Warren’s debut collection, Binded, discloses their reality of living nonbinary in the rural context of Alaska. With breasts bound by compression, these poems explore the space that binds the body into itself, stuck in unrelenting forces of binary politics and violence. Each poem is a stitching and restitching of the self—an examination of trans-survival. This is a courageous collection—an anthem of Queer resilience and a reminder of the healing powers of community care.

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Poet Emily Wall began collecting birth stories after the birth of her third child, Lucy. She realized that women were always quietly sharing their stories—in living rooms with a mug of tea, or whispered at the preschool playground. She saw the intensity with which women listened to each other’s stories. They were shared, remembered, retold, but not collected, not treated as the art form they are. Wall began asking for, and collecting birth stories: women sent her emails, handed her their journals, and recorded their own voices. She collected stories from a lesbian couple, a story from an indigenous father who is fighting for his language, and a story from a grandmother. Some of the stories are about difficult and painful births: a woman who had a miscarriage, a woman unable to get pregnant. And some of the stories are beautiful: a birth in water that happened exactly as the mother dreamed it would. Wall has taken these stories and shaped them into poems, and then into this collection, offering the reader a look into the story that women, for centuries, have been quietly sharing with each other.

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American Bastard is a lyrical inquiry into the experience of being a bastard in America. This memoir travels across literal continents—and continents of desire as Beatty finds her birthfather, a Canadian hockey player who’s won three Stanley Cups—and her birthmother, a working-class woman from Pittsburgh. This is not the whitewashed story, but the real story, where Beatty writes through complete erasure: loss of name and history, and a culture based on the currency of gratitude as expected payment from the adoptee. American Bastard sandblasts the exaltation of adoption in Western culture and the myth of the “chosen baby.” This journey into the relationship of place and body compels and unhinges, with the link between identity and blood history as its driving force. Beatty rescripts the order of things: the horizontal world of the birth table where babies are switched, the complex yard of the body where names and blood shift and revolt, and the actual story into the relationship of place and the insurrection of the body erased. Issues of class and struggle run throughout this book, this narrative river between blood and continents, between work and desire.

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The Skin of Meaning is award-winning poet Keith Flynn’s sixth and most wide-ranging collection, seeking to find the tangible analogs and visceral meanings hidden behind the daily bombardment of digital information and hoping to restore the mystery in our involvement with language. From the etymologies of pop culture, history, astronomy, and rock and roll, these poems fan out into a bold multiplicity of voices and techniques. Flynn’s work illustrates the meaning that is also created through tense collisions and is populated with figures in resistance to the status quo, a gathering as varied as Caravaggio, Nina Simone, Gaudí, Villon, Wonder Woman, and Manolete. The final section examines America’s fascination with violence and death, revealing that “a human being in love with mystery is never finished.” This collection constantly challenges our assumptions about the world we think we see and is teeming with evidence of another invisible world bristling like an underground river beneath our feet.

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TREE SPIRITS is an interactive picture book that encourages creativity, social emotional intelligence, and seeing the world with fresh eyes. Encouraging children to develop their imagination, creativity and emotional intelligence. With 25 color photographs of trees, the rhyming text asks, “What DO you see when you look up at this tree?” inviting a child to use their imagination. Turning the page reveals an illustrated overlay of a charming animal inspired by the lines and shapes of the tree bark. Each animal introduces a different emotion helping children to understand their own inner spirit and feelings. For parents and grandparents and friends and family it is a fun book to read with the children in their lives. The book includes 4 sheets of tracing paper to invite them to begin drawing what they see and ends with encouraging children to go out and look at the trees in their neighborhood and keep noticing, “What do I see?” LOUISE WANNIER “Safta” – “Safta” is Hebrew for grandmother and, as of this printing, is very lucky to have five grandchildren. As an artist, Louise is fascinated by observing patterns and loves the discovery of how the camera shifts the focus and emphasis from what our eyes natively see. Beautiful illustrations by talented Graphic Artist April Tatiana Jackson.

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Danielle Vogel’s newest collection creates a latticework for repair—the repairing of past trauma, the calling-into-presence of a dissociated self—but does so while keeping the material of this net of thinking in a fragmented, diaphanous state, glowing in the space between the poem and essay. Across three sections of “displacements,” “miniatures,” and “volume,” Vogel initiates readers into the séance of the book; she asks the reader to hold vigil for the most crucial phase of its composition, which can only happen when the reader and she meet at the site of the page, within a “new, interrupted unity.” In The Way a Line Hallucinates its Own Linearity, accord—writing with, reading with—is always a verb, always kinetic, alchemical, and alive. “It only takes one letter on the page,” Vogel writes, “and we are already inside one another’s lungs.” To consent to walk through these spaces is to give up that part of you that wishes to remain anonymous and un-entrained. You will be grateful that you did.

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Keeping Quiet is a combination of the anthropologist’s keen eye and the language of a storyteller.In Keeping Quiet, Páramo has collected essays addressing what it is like to live in a world of silence or the absence thereof. This collection covers a wide range of angles and experiences, from an exploration of IBM’s anechoic chamber—the world’s quietest place— to stories of incest, marriage, sexual harassment, social justice, and first-person accounts of life in the emirate of Qatar. Páramo crosses the borders between art (Mozart, Monet, Beethoven, Sheila Chandra, Neruda) and yoga, between research and drunkenness, between despair and triumph, weaving the intimate and personal with what is upsetting in women’s health industry. In “Belated Comebacks,” Páramo is full of righteous anger; in “Teaching Mom Long Division,” she explores the oceanic depths of longing; in

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I discover a "lost" aunt, separated from our family due to racism and discrimination against the disabled. She had a mental disability due to childhood meningitis. She was taken away in 1942 when all Japanese Americans were considered the enemy and imprisoned. She then became a "ward" of the state. We believed she had died, but 70 years later found her alive and living a few miles from our family farm. How did she survive? Why was she kept hidden? How did both shame and resilience empower my family to forge forward in a land that did not want them? I am haunted and driven to explore my identity and the meaning of family—especially as farmers tied to the land. I uncover family secrets that bind us to a sense of history buried in the earth that we work and a sense of place that defines us.

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Blindspot in America gives a provocative depiction of some of the realities immigrants face in the United States—racism and discrimination—but also their hopes and faith in a country that promises freedom and opportunity to all.Kamao is the son of a prominent Ghanaian academic and incumbent minister of health and is devoted to all that America symbolizes. After immigrating to the United States in pursuit of higher education and the American Dream, he becomes unwittingly entangled with American politics when he meets Lindsey McAdams, the daughter of an influential, anti-immigration senator. As the couple’s feelings grow, so too does the senator’s animosity toward Kamao. Despite support from fellow immigrants Lazo, Ayefumi, and Dania—who follow American Dreams of their own—Kamao soon finds himself drawn into intrigues hidden from the American public that make him question himself and his adopted country. When Kamao i

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BLACK WAS NOT A LABEL is a collection of essays that explores the intersection of faith and racial trauma and the attempt to come to terms with instances of otherness, isolation, racism, erasure, anger, and lost love. A look at life within the “veil” W.E.B. Du Bois spoke of in his work, The Souls of Black Folk, this collection is both catharsis and lamentation to God for the self and all who have felt trapped within this (sometimes impenetrable) veil.

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Percival Everett’s The Book of Training by Colonel Hap Thompson of Roanoke, VA, 1843, Annotated From the Library of John C. Calhoun, is poetry within the harsh confines of a mock historical document—a guidebook for the American slave owner. The collection features lists of instructions for buying, training, and punishing, equations for calculating present and future profits, and handwritten annotations affirming the brutal contents. The Book of Training lays bare the mechanics of the peculiar institution of slavery and challenges readers to place themselves in the uncomfortable vantage point of those who have bought and enslaved human beings.

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Seventeen-year-old Annika Rose and her father Wes have spent the years since the death of Annika’s mother in self-imposed social isolation on their farm on the edge of the woods. When a young woman named Tina moves into a house down the road, the result is a sudden explosion of feelings in both father and daughter and a fierce rivalry. At stake in the competition is not only their relationship, but the life of the vulnerable young woman at the center of it all.

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Eloise Klein Healy’s A Brilliant Loss is a poetic journey into the loss of language and the reclaiming of it. Healy had Wernicke’s aphasia in 2013 when she was the first poet laureate of the City of Los Angeles, and the virus hit her the night of her reading with Caroline Kennedy at the Central Library. Also called fluent aphasia, Wernicke’s aphasia affects language and the use of words. Healy’s collection shows that her brain has access to its deepest unconscious, and that place is poetry. Her deepest language is poetry. It’s as if a dancer was denied the ability to walk or run, and could only dance. Healy writes of losing her words and finding big love.

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Full of warmth, terror, and underhanded humor, If I Were the Ocean, I’d Carry You Home, Pete Hsu’s debut story collection, captures the essence of surviving in a life set adrift. Children and young people navigate a world where the presence of violence and death rear themselves in everyday places: Vegas casinos, birthday parties, church services, and sunny days at the beach. Each story is a meditation on living in a world not made for us—the pervasive fear, the adaptations, the unexpected longings. A gripping and energetic debut, Hsu’s writing beats with the naked rhythms of an unsettled human heart.

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The Rumpus Book Club Pick, May 2022Most Anticipated Books of 2022, The Rumpus16 Upcoming Books from Indie Presses You’ll Love, BuzzFeedBest Books of the Summer, Powell’sSaul doesn't get why he's misunderstood. At his high-tech day job, he hides in the bathroom writing a novel about his dead grandfather and wonders why his boss wants to fire him. He tells his almost ex-wife about a blind date and wonders why she slams the door in his face. He aches with worry for his seven-year-old son, who seems happier living with his mom and her new man.When the blind date becomes a complicated relationship, and Saul’s blunders at work threaten the survival of the company, Saul has to wake up and confront his fears.I Only Cry with Emoticons is a quirky comedy that reveals the cost of being disconnected—even when we're using a dozen apps on our devices to communicate—and an awkward man's search for real connections, on and offline.

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In his debut collection, Josh Sapan guides us through a lifetime of love and loss as he navigates death-of loved ones, of crickets, of houseplants-in an American landscape teeming with wonder and the promise of rebirth-in the stars, the wind, the minnows in the bay. In Rx, the prescription is literal ("blue-fog medicine breath") and figurative ("Love so big,/ it comes in a gigantic red box."). Sapan offers a glimpse into the sometimes painfully delicate and beautiful parts of life.

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This harvest of poems is inspired by the plant medicine latent in Gossypium Herbeceum, or Cotton Root Bark, which was used by enslaved Black women to induce labor, cure reproductive ailments and end unwanted pregnancies. Through an arrangement of stories, secrets and memories experienced, read, heard, reimagined and remixed, gossypiin reckons with a peculiar yet commonplace inheritance of violation, survival and self-possession. In this way, Ra Malika Imhotep invites us to lean in and listen good as the text interrupts the narrative silence around sexual harm, sickness, and the marks they make on black femme subjectivity. Within these pages, the poet is joined by a “sticky trickster-self” named Lil Cotton Flower who tells of their own origins and endings in the Black vernacular traditions of the griot and the gossip. Interspersed throughout the collection, Black feminist wisdoms and warnings meld with the poets own yearnings and Lil Cotton Flower’s tall tales. Gossypiin is an offering towards the holding and healing of Black beings that exceed the confines of their own bodies.

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Long regarded as one of the best narrative and dramatic poets at work in the United States, David Mason has also been regularly producing soulful lyrics. In the ten years since the publication of his last collection of shorter poems, Mason has refined his art in the fires of wrenching personal change. The result is an almost entirely new poetic voice and his most rigorous and memorable book to date. Emotionally resonant and elegant in phrasing, the poems of Sea Salt, which have appeared in publications such as Best American Poetry, The New Yorker, Harper’s, and Poetry, are a powerful evocation of crisis and change. These “poems of a decade” demonstrate that the author of Ludlow: A Verse Novel and The Scarlet Libretto is also a lyric poet at the top of his game.

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*Finalist for two International Latino Book Awards* *Selected as a Staff Pick by The Paris Review* *Shortlisted for the VCU Cabell First Novelist Award* *Finalist for the Foreword Indies Book of the Year Award (Multicultural)* *SILVER MEDAL winner in the Independent Publisher Book Awards in Multicultural Fiction**SILVER winner of the Nautilus Book Award* PRAISE FOR SUBDUCTION: “Subduction is a gritty novel in which floundering people find hope and understanding where they least expect it.”—Foreword Reviews The brilliance of Subduction only suggests the wonders to come. It is a good day for us when Kristen Millares Young puts pen to paper. Highly recommended.—Luis Alberto Urrea, winner of the American Book Award, finalist for the Pulitzer Prize, author of The House of Broken Angels, The Devil’s Highway, Queen of America, Into the Beautiful North, The Hummingbird’s Daughter. In this commanding novel, Kristen Millares Young captures the brutality of an anthropological gaze upon a Makah community. Her complex, exquisitely shaped characters embody the calamity of intrusion and the beauty of resilience.—Elissa Washuta, author of My Body is a Book of Rules and Starvation Mode Young beautifully and vividly renders the Pacific Northwest, particularly the unique world of Neah Bay. Subduction is at once a thought-provoking meditation on the geography and geology of the natural world and a generous exploration of the natural shifts and movements that shape her characters.—Jonathan Evison, New York Times bestselling author, Lawn Boy, This is Your Life Harriet Chance!, West of Here, All About Lulu, and The Revised Fundamentals of Caregiving Fleeing the shattered remains of her marriage and treachery by her sister, a Latina anthropologist named Claudia takes refuge in Neah Bay, a Native whaling village on the jagged Pacific coast. Claudia yearns to lose herself to the songs of the tribe and the secrets of a spirited hoarder named Maggie. Instead, she stumbles into Maggie’s prodigal son Peter, who, spurred by his mother’s failing memory, has returned seeking answers to his father’s murder. Claudia helps Peter’s family convey a legacy delayed for decades by that death, but her presence, echoing centuries of fraught contact with indigenous peoples, brings lasting change and real damage. Through the ardent collision of Peter and Claudia, Subduction portrays not only their strange allegiance after grievous losses but also their shared hope of finding solace and community on the Makah Indian Reservation. An intimate tale of stunning betrayals, Subduction bears witness to the power of stories to disrupt—and to heal.Orcas Island Literary Festival Panel highlighted in Seattle Met

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Tova Agard’s world is literally falling apart: she’s just been disowned by her father in a violent confrontation over her sexuality, and climate change is about to wreak havoc on the world around her. In the midst of catastrophe Tova meets Smithsonian Institute’s ethnologist John Swanton on an Alaskan-ferry time machine, trapping Swanton on Tova’s small hometown of Wrangell Island. Tova convinces Swanton that the island’s contemporary stories are worth collecting despite their strangeness: in Tova's oral traditions, a woman becomes a bear, a man marries trees, a UFO hunts deer, and the dead go to Seattle. These forty-three linked tales in the story-cycle are not stories that the Smithsonian intended to collect, but by the time all the tales are told, their reconstruction of history will make a greater impact on the world around them then either Tova or Swanton could have ever imagined.

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This harrowing and extraordinary story, based on a true event, is part of a series of tales illuminating the microcosm of all humanity contained in a typical Chinese “worker village.” Here, an exploited young factory worker has nothing to live for beyond a frail chance of a pay raise. When it never happens, he feels trapped between his family and official greed, indifference, and corruption. He then loses a ten-yuan note in a grain shop and turns desperately manic. While burgling the home of his sister, he is caught and accused by his little niece. Horrorstruck, he performs the action that will seal his fate forever . . .

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RIFT ZONE, Taylor’s much-anticipated fourth book traces literal and metaphoric fault lines—rifts between past and present, childhood and adulthood, what is and what was. Circling Taylor’s hometown—an ordinary California suburb lying along the Hayward fault—these poems unearth strata that include a Spanish land grant, a bloody land grab, gun violence, valley girls, strip malls, redwood trees, and the painful history of Japanese internment. Taylor’s ambitious and masterful poems read her home state’s historic violence against our world’s current unsteadinesses—mass eviction, housing crises, deportation, inequality. They also ponder what it means to try to bring up children along these rifts. What emerges is a powerful core sample of America at the brink—an American elegy equally tuned to maternal and to geologic time. At once sorrowful and furious, tender and fierce, Rift Zone is startlingly observant, relentlessly curious—a fearsome tremor of a book.

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In poems full of bounty, loss and the mysteries of the body, Taylor offers a rich, severe, memorable meditation about what it means to try to connect our bodies and our time on earth. In 2010, Tess Taylor was awarded the Amy Clampitt Fellowship. Her prize: A rent-free year in a cottage in the Berkshires, where she could finish a first book. But Taylor—outside the city for the first time in nearly a decade, and trying to conceive her first child—found herself alone. To break up her days, she began to intern on a small farm, planting leeks, turning compost, and weeding kale. In this calendric cycle of 28 poems, Taylor describes the work of this year, considering what attending to vegetables on a small field might achieve now. Against a backdrop of drone strikes, "methamphetamine and global economic crisis," these poems embark on a rich exploration of season, self, food, and place. Threading through the farm poets—Hesiod, Virgil, and John Clare—Taylor revisits the project of small scale farming at the troubled beginning of the 21st century.

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Ron Koertge eagerly tries his talented hand at Flash Fiction. In "BFF," a teenage girl from the near-future orders friends from Amazon. A few pages later, a robot who travels what is left of the world and observes through "well-engineered eyes" claims that the sound of turbines is his lullaby. A fed-up daughter finds a foolproof way to do away with

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Like a lot of Americans, Steve Almond spent the weeks after the 2016 election lying awake, in a state of dread and bewilderment. The problem wasn’t just the election, but the fact that nobody could explain, in any sort of coherent way, why America had elected a cruel, corrupt, and incompetent man to the Presidency. Bad Stories: What the Hell Just Happened to Our Country is Almond’s effort to make sense of our historical moment, to connect certain dots that go unconnected amid the deluge of hot takes and think pieces. Almond looks to literary voices—from Melville to Orwell, from Bradbury to Baldwin—to help explain the roots of our moral erosion as a people. The book argues that Trumpism is a bad outcome arising directly from the bad stories we tell ourselves. To understand how we got here, we have to confront our cultural delusions: our obsession with entertainment, sports, and political parody, the degeneration of our free press into a for-profit industry, our enduring pathologies of race, class, immigration, and tribalism. Bad Stories is a lamentation aimed at providing clarity. It’s the book you can pass along to an anguished fellow traveler with the promise, This will help you understand what the hell happened to our country.

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Jane is a Los Angeles nurse who grew up in a Christian cult that puts celebrities on trial for their sins. Daniel is a has-been actor whose career ended when the cult family members nearly killed him for flirting with her. Eight years after a romantic meet-cute in Battery Park, both search for someone to fill the gap they imagine the other could’ve filled if given the chance. Jane compulsively goes on dates with every self-professed expert in art, music, and food hoping they will teach her the nuances of the culture she couldn’t access in her youth. Daniel looks for a girlfriend who will accept the disabilities left from the cult attack. A loving woman will prove to Daniel’s blockbuster star brother, Steve, that he’s capable of a supporting role in Steve’s upcoming movie and relaunching Daniel’s career. When a chance encounter unexpectedly reunites them, Jane and Daniel not only see another chance at the love they lost, but an opportunity to create the lives they’ve always wanted. The only question is whether their families will let them.

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After meeting at a boatman’s bash on the Snake River, river runners Maddy and Dalt embark on a lifelong love affair. They marry on the banks of the Buffalo Fork, sure they’ll live there the rest of their days. Forced by the economics of tourism to leave Wyoming, they start a new adventure, opening their own river business in Ashland, Oregon: Halfmoon Whitewater. They prosper there, leading rafting trips and guiding fishermen into the wilds of Mongolia and Russia. But when Maddy, laid low by dizzy spells, with a mono that isn’t quite mono, both discovers she is pregnant and is diagnosed with multiple sclerosis, they realize their adventure is just beginning. Navigating hazards that dwarf any of the rapids they’ve faced together, Maddy narrates her life with Dalt the way she lives it: undaunted, courageous, in the present tense. Driven by her irresistible voice, full of wit and humor and defiance, If Not For This is a love story like no other.

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Illuminating Fiction contains nineteen interviews with fiction-writing luminaries including Edward P. Jones,  Julia Glass, Amy Bloom, Jill McCorkle, Margot Livesy, Ron Carlson and Steve  Almond.  The interviews contain questions about narrative, voice,  character, place, point of view, arc of the story/novel plot, and revision;  questions about the writing process; questions about the trajectory of the writer''s career; questions about the role and importance of writing courses and mentoring; and also questions that Ellis has drawn from the text of the authors''  work.  Authors describe the challenges they have faced.  The reader is able to gain an intimate and specific understanding of the authors'' works, and the authors'' thought process as they created their novels and short stories.

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Don’t look back. Did Eurydice want to return from the underworld? Did anybody ask? In this brilliant portrait of rage and resilience, a Korean woman tries to connect with her younger brother and grapple with family tragedy through bedtime stories that weave together Greek mythology, neuroscience, and tales from their grandmother’s slipping memory. Recasting the myths of Eurydice, Orpheus, Persephone, and Hades through the lens of a Korean American family, Eunice Hong’s debut novel offers a moving and darkly funny exploration of grief, love, and the inescapability of death.

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In Self Portrait of Icarus as a Country on Fire, Jason Schneiderman confronts the rise of extremism and antisemitism in the United States while grappling with the end of his marriage and finding his feet as a newly single gay man.Following up on his landmark collection Hold Me Tight, Jason Schneiderman extends his personal and historical explorations in Self Portrait of Icarus as a Country on Fire. Schneiderman’s signature sense of humor works as a connective tissue across the book, even as the juxtapositions become more unlikely (Kafka and Hillary Clinton?), the historical scope becomes wider, and the personal revelations cut deeper than ever before. These poems represent Schneiderman’s most direct and explicit exploration of Jewish heritage and history, bringing to the surface a theme that has often been missed in his work. The strength of these poems is in their power to trace the wound as a form of healing, to confro

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In her second collection, My Infinity, Didi Jackson continues her exploration of the paradoxical meaning of a world where joy and sorrow simultaneously coexist.These poems investigate both sacred and natural spaces. Her poems move grief and emotional suffering to language as a site of recovery and renewal. Much of this collection is ordered around the work of the Swedish visual artist Hilma af Klint. As the first artist to arguably use abstraction, her radical work brims with enigmatic botanical images painted to grasp the seemingly boundless and hermetic realm of the dead. Similarly, Jackson’s poems explore plant life and natural species in the Green Mountains of Vermont, where perceived thresholds blur in acts of spiritual reimagining. This is a book that questions all that is endless, all that has been thought as limiting, and all that remains unknown.

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Deer Black Out is a(n obsessional re) mediation of violence and trauma through the trans/coalescence of identities surfacing and resurfacing within a manuscript of serialized poetry, influenced by HD, Zukofsky, and Ronald Johnson. It''s sort of like a body, the movement of which you can only recognize emerging within a field of static. Just the outlines. A deer! In ramifying lines, this poetry creates a self-reciprocating dialogue with the very act of self-replication. The language exists as the prosthetic support that co-creates and conditions the Baerself''s emergence into the real.

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Taking the reader across our country through the varied landscapes of Colorado, Tennessee, North Carolina, and Arizona, Refugee discusses the nature of seeking shelter. We are all refugees looking for a haven from whatever oppresses our lives. What constitutes a refugee is at the heart of the collection. Poems confront and explore xenophobia, sexism, gun violence, domestic violence, corporate greed, and their ties to environmental destruction and political and economic tyranny. An ovarian cancer survivor, the author also writes about her own courageous confrontation with death. These inspiring poems ultimately call for the reader to recognize the refugee condition as a human condition. They call for a change in consciousness in the forms of action and compassion. They call for the reader to thrive. Ranging from short lyric poems to narrative poems, this collection steeped in rich, sensual imagery draws inspiration and healing from the natural world. Truth lies in recognition of the interdependence of all life. Refugee is an odyssey to find grace and unity in a besieged and divided contemporary American society.

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The speaker of Testify returns to divulge his parents’ love story. Set in Anderson, Indiana in the 1960s, ’70s, and ’80s, Trouble Funk exposes ways Black Love is thwarted but never destroyed by racism, classism, and sexism. Eschewing the “lyrical I” in favor of a third person omniscient point of view, this text exhibits how the latter half of the twentieth century rhymes with our current moment when it comes to political division, the hardships that Black folks face, and the rise of toxic right-wing policies. In many ways, Trouble Funk serves as a prequel to Testify in which Douglas Manuel seeks to better understand and love himself, his family, and his country.

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In Ripples in the Fabric of the Universe, Jim Tilley draws on his experience as a poet and mathematician to fix a lens on the current raw state of the country and the world and on interpersonal relationships. At times, his mood is merely contemplative, especially while expressing his fondness for nostalgia and in his testaments to family and friends, but as he delves relentlessly into matters political, ecological, and environmental, that mood turns darker, even ominous, infused occasionally with humor to present a more optimistic outlook.

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In her award-winning second book, Anna V. Q. Ross transforms motherhood into a lens, examining narratives of girlhood, migration, trauma, and inheritance. Compassing home and horizon, this tightly woven, image-rich collection plumbs the political within the domestic and traces the routes of the past within everyday life. A bruise becomes a flower and then a flag planted to claim an adopted land; the hull of a Viking ship becomes the fuselage of a plane carrying an immigrating mother home; the daily routines of carpools, math homework, and bedtime stories are interrupted by memories of abuse and reports of school shootings and environmental collapse. But at heart, these are poems of reclamation, reminding us that “in those days, we were fast and best, but didn’t know it.” Wary and watchful, never resigned, Flutter, Kick maps the spaces for compassion we carve in a dangerous world.

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Letters Written and Not Sent is the lifetime work of poet William Louis-Dreyfus, written over decades, culminating a passion for poetry, art and social justice. He passed away just days after the book was completed. Like paperweights, his lyrics are both small and hefty. His subjects range from race relations to trees, from secrets to parenthood, from ideas of god to kissing, from sons and mothers to fate, and of course, to poetry itself. Never afraid of the big questions of why human beings are alive, and what hope and justice are for, Louis-Dreyfus could take decades to finish a poem. A perfectionist, a thinker, and always inspired by visual art, he fought with himself over how to say what he wanted to say best. Like the French-Uruguayan businessman poet Jules Supervielle, whom Louis-Dreyfus translated, he felt the tug of the financial world against the pull of the lyricism of poetry, and the division marked his life and sparked ideas for his finest poems. As the heart condition that seized him made it absolutely imperative, finishing Letters Written and Not Sent literally became a life-or-death matter. This is the book that he wished to send into the world.

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Touching Creatures, Touching Spirit illustrates with true stories that we live in an interactive, aware world in which the creatures around us in our neighborhoods know us and sometimes reach across to us, empathically and helpfully. Implications are that all beings live in a possible “common mind” from which our mass culture has disconnected, but which is only a heartbeat and some concentrated attention away. This mind encompasses microbial life and insects as well as creatures and extends to nonmaterial intelligence as well—that is to say, spirit. Creatures as varied as a collaborating dragonfly, ants rescuing each other, a sympathetic lizard, an empathic coyote, gift-giving squirrels, crazed birds, and lots of very mysteriously smart cats inhabit the stories. Precognition, dreams, paranormal experiences with birds, psychic communications with cats, visitations from ghosts with messages, rolling earth spirits—not supernatural, they seem natural enough but not visible to everyone. The intention of this book is to help people catch interactions they themselves experience with nonhuman and even disembodied beings, and who could use some support for recalling since these interactions make clear we live in a sentient world.

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Adrien Desfourneaux, professor of magic and disgraced ex-physician, has discovered a conspiracy. Someone is inflicting magical comas on the inhabitants of the massive city of Astrum, and no one knows how or why. Caught between a faction of scheming magical academics and an explosive schism in the ranks of the Astrum’s power-hungry military, Adrien is swallowed by the growing chaos. Alongside Gennady, an unruly, damaged young soldier, and Malise, a brilliant healer and Adrien’s best friend, Adrien searches for a way to stop the spreading curse before the city implodes. He must survive his own bipolar disorder, his self-destructive tendencies, and his entanglement with the man who doesn’t love him back.

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Brynn Saito takes her readers on a journey with her father to the desert prison at Gila River where, over 80 years ago, her grandparents met and made a life together. Born of an unquenchable desire to animate the shadow archive, Saito’s poetry sings a song of rage, confusion, and, ultimately, love; descendants of wartime incarceration exchange dreams, mothers become water goddesses, and a modern daughter haunts future ruins. Mystical inclinations, yellow cedars, and sisterhood make a balm for trauma’s scars. This work opens a dialogue between the past and present, radical ancestor and future child, desert prison and family garden.

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When ten-year-old Alyssa is diagnosed with the rare genetic connective tissue disorder Ehlers-Danlos syndrome, she vows not to let it stop her. Unfortunately, her efforts to avoid being "too sensitive" lead her to neglect not only her health but other aspects of her life as well. Twenty years later, she’s finally forced to confront the reality of her condition head on. When she finds herself tangled in an unwieldy combination of chronic pain, a library job for which she is particularly ill-suited, and her wife’s mystifying health problems, her body starts to unravel in ways she can no longer ignore. If pushing through is not the answer, what does homecoming to her floppy body even look like?

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In A Fire in the Hills, Afaa focuses on one of the central threads in his body of work. His ongoing project of an articulation of self in relation to the external landscape of the community and the world and the writing of spirit through those revelations of sublimation of self gives way here to a material focus. The racial references are explicit as are the complexities of life lived as a Black man born in America in the mid-twentieth century. These are poems emanating from an attempt to follow Daoist philosophy for most of his life. Knowledge of other is in relation to knowledge of self, and self is an illusory continuum, a perspective wherein the poet embodies the transcendent arc of Malcolm X’s life as credo.

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Human Heartbeat Detected is a collection of essays that explores how we are wonderfully and terrifyingly human. Hitting on themes such as trauma, emotional abuse, marriage, mental illness, and grief, these essays delve into how humans are simultaneously beautiful and terrible to one another. Though regardless of how we might make each other shatter, our hearts continue beating—even when we might not want them to—and we wade through the wreckage of our lives to find ways to survive. With exquisite language and captivating storytelling, the essays in Human Heartbeat Detected face what it means to be human.

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On a chilly November morning, eighty-eight-year-old Iris Blum goes missing from Azalea Court, a six-bungalow development on the grounds of a long-closed state mental hospital. Her husband, Asher Blum, was the last head psychiatrist at the hospital and is writing a book about the treatment of mental illness. Their daughter Lexi, the neighbors, and police detective McPhee suspect Dr. Blum of being involved in Iris’s disappearance. When the searches and interviews come up empty, the neighbors dig into the past—Asher’s childhood experiences with anti-Nazi partisans in the forests of Poland, unethical practices at the mental hospital, and Iris’s mysterious best friend, Harriet. The neighbors of Azalea Court, Lexi, Harriet, and Detective McPhee narrate this story together, uncovering ghosts, secrets, and lies.

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