Search results for ""graywolf press,u.s.""

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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