Search results for ""milkweed editions""

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Issue 28 includes:Fiction by Preeta Samarasan, whose debut novel Evening Is the Whole Day was translated into 15 languages; Asako Serizawa, who has received a Pushcart Prize and two O. Henry Prizes; Scottish fiction writer Kirsty Logan; and NEA Fellow Sarah Strickley.Nonfiction by Guggenheim and NEA fellow Paisley Rekdal; novelist Sheena McAuliffe; and poets Rebecca Lehman and Celia Bland.Poetry by MacArthur “Genius” and National Book Award finalist Edward Hirsch; regular NPR reviewer Tess Taylor; Cave Canem Poetry Prize winner Gary Jackson; Guggenheim fellow Geoffrey Brock; co-founder of VIDA Ann Townsend; Stegner fellow Brian Tierney; NEA fellows Sandra Beasley and Michael Bazzett; Yale Younger winner Sean Singer; Best American Poetry contributor Andrew Feld; author of four poetry collections Heather Christle and author of three collections Catherine Pierce; and numerous emerging poets, such as Dominica Phetteplace, Mejdulene B. Shomali, and Samuel Cheney.Translation Folios featuring work by Israeli poet and editor of the newspaper Haaretz Eli Eliahu, translated by Marcela Sulak; Younger French poet Muriel Pic, writing about the massive, ruined Nazi vacation structure Rügen, and translated by Samuel Martin; contemporary German poet Ute Von Funcke, translated by Stuart Friebert; and ancient Roman poet Martial in new, highly contemporary translations by Tyler Goldman.The cover features work by New York-based artist Xaviera Simmons, whose work has been shown at the MoMA and MoMA PS1 (NYC); the Museum of Contemporary Art, Chicago; the Contemporary Arts Museum, Houston; the Walker Art Center (Minneapolis); the Pérez Art Museum Miami, the Institute of Contemporary Art, Boston; and the Radcliffe Institute for Advanced Study at Harvard, among other venues.

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Copper Nickel issue 23 will feature poetry by two-time Pushcart Prize winner Jennifer Atkinson, Kate Tufts Discovery Award winner Adrian Blevins, National Poetry Series winner Justin Boening, renowned poet and critic Stephen Burt, Ruth Lilly Fellow Chloe Honum, two-time NEA Fellow Christopher Howell, Lambda Literary Award finalist Randall Mann, Stegner Fellow L.S. McKee, and Guggenheim Fellow Eric Pankey, as well as emerging voices such as Belfast, Northern Ireland, based poet Andrew Deloss Eaton and Hong Kong based poet Nicholas Wong; fiction by George Brookings, Dan Mancilla, Evelyn Sommers, and Liz Wyckoff; nonfiction by Bangladeshi-American writer Anuradha Bhowmik and NEA Fellow Traci Brimhall; and translation folios featuring Polish poet, critic, and scholar of Roma culture Jerzy Ficowski (translated by Jennifer Grotz and Piotr Sommer), Bosnian visual and performance artist Šoba (translated by Paula Gordon) who “publishes” his prose on facebook, and Polish poet Gzegorz Wróblewski (translated by Piotr Gwiazda).The cover of Issue 23 features collage work by Denver-based visual artist Mario Zoots.

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“Offering a deeply necessary, clear-eyed look at who we are as flesh-and-bone bodies during the climate crisis, this is a book that searches and finds meaning in both the hard truths and the value of wonder.”—Ada LimónIn this luminous collection of essays, Ellen Wayland-Smith probes the raw edges of human existence, those periods of life in which our bodies remind us of our transience and the boundaries of the self dissolve.From the Old Testament to Maggie Nelson, these explorations are grounded in a rich network of associations. In an essay on the postpartum body, Wayland-Smith interweaves her experience as a mother with accounts of phantom limbs and Greek mythology to meditate on moments when pieces of our being exist outside our bodies. In order to comprehend diagnoses of depression and breast cancer, she delves into LA hippie culture’s love affair with crystals and Emily Dickinson

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An NPR Best Book of the YearWinner of the CLMP Firecracker Award in Creative Nonfiction“The Quickening is a book of hope.”—Elizabeth Kolbert, author of Under a White SkyAn astonishing, vital work about Antarctica, climate change, and community.In 2019, fifty-seven scientists and crew set out onboard the Nathaniel B. Palmer. Their destination: the ominous Thwaites Glacier at Antarctica’s western edge. Their goal: to learn as much as possible about this mysterious place, never before visited by humans. And with them is author Elizabeth Rush, who seeks, among other things, the elusive voice of the ice.Rush shares her story of a groundbreaking voyage punctuated by both the sublime—the tangible consequences of our melting icecaps; the staggering waves of the Drake Passage; the torqued, unfamiliar contours of Thwaites—and the everyday moments of living and working in community. A ping

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In the 15 years since this book came out, Marilyn Chin has been widely recognized as a consummate poet of the hybrid experience, blending East and West, popular and high culture, personal and political. Praised for its streetwise lyricism, this groundbreaking volume captures a young immigrant woman's perspective as she encounters the nexus of tradition and commercialism in modern, diverse, and urban California. With this new edition, a modern classic is reintroduced to a new generation of readers.

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Born and raised with the kind of expectations that often accompany privilege, Jim Lenfestey approached his thirtieth birthday in a state of acute anxiety. A young family and a demanding work life on one hand, and a burgeoning love for poetry on the other. When an independent bookseller discerns Lenfestey's difficulties, and prescribes for a remedy the poems of a Chinese hermit named Han Shan, Lenfestey's life is changed forever. After "swallowing the poems like aspirin" for the next thirty years, a spirited embrace of this ancient poet called Cold Mountain--the poet he has come to see as a guiding light in his life--prompts Lenfestey to travel to China on a pilgrim's search for his cave. Along the way, this quest takes our author first to Tokyo, where he visits with the foremost translator and scholar of eastern poetry, Burton Watson, and from there across China, from the enormous chanting hall of ten thousand Buddhas in Bailin Temple to the birthplace of Confucius. A singular combination of travel writing, memoir, translation, and poetry, Seeking the Cave is both deeply personal and universally illuminating. "Uniting our brief literary life with the ancient richness of Chinese culture" (Robert Bly), this extraordinary book evokes the transformative power of poetry, and the way it breathes meaning into our lives.

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Since its establishment as a federally protected wilderness in 1964, the Boundary Waters has become one of our nation’s most valuable—and most frequently visited—natural treasures. When Amy and Dave Freeman learned of toxic mining proposed within the area’s watershed, they decided to take action—by spending a year in the wilderness, and sharing their experience through video, photos, and blogs with an audience of hundreds of thousands of concerned citizens. This book tells the deeper story of their adventure in northern Minnesota: of loons whistling under a moonrise, of ice booming as it forms and cracks, of a moose and her calf swimming across a misty lake. With the magic—and urgent—message that has rallied an international audience to the campaign to save the Boundary Waters, A Year in the Wilderness is a rousing cry of witness activism, and a stunning tribute to this singularly beautiful region.

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For eons, female members of the Porcupine caribou herd have made the journey from their winter feeding grounds to their summer calving grounds—which happen to lie on vast reserves of oil. They once roamed borderless wilderness; now they trek from Canada, where they’re protected, to the United States, where they are not. In April 2003, wildlife biologist Karsten Heuer and filmmaker Leanne Allison set out with the Porcupine caribou herd. Walking along with the animals over four mountain ranges, through hundreds of passes, and across dozens of rivers—a thousand-mile journey altogether, from the Yukon Territory to the Arctic National Wildlife Refuge and then back again—they reached a new understanding of what is at stake in the debate over drilling for oil. More than a tale of grand adventure or an activist tract, however, Being Caribou is a “gripping, cinematic tale” (Los Angeles Times) with the “bite of a political tract” (Washington Post) about the power of wilderness and how it returns us to the roots of human instinct. On the caribou’s trail Heuer and Allison learn what is possible when two people immerse themselves in the uniquely wild experience of migration, discovering in the process a different way of being.

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Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of Remind Me Again What Happened and The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic), and

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A haunting collection that inhabits a disquieting future where fear is the governing body, “the organ and the tissue / and the cell, the membrane and the organelle.” “Once there were oarfish, opaleyes, olive flounders. Once the oxbows were not overrun with nitrogen.” Part requiem, part bedtime story, Meltwater narrates the awful possibility of doom as well as the grim temptation to numb ourselves to it. Prose poems melt into erasures, erasures swell into lush catalogs. Within this formal ebb and flow, Claire Wahmanholm explores both abundance and annihilation, giving shape and music to our shared human anxieties. What does it mean to bring children into a world like this one? A world where grenades are “the only kind of fruit we can still name”? Where “lightning can strike over / and over without boredom or belief and nothing / is saved”? Where losses, both ecological and personal, proliferate endlessly? Here, a parent’s joy is accompanied by the gnaw of remorse. And yet, Wahmanholm recognizes, children bind us to the world—to its missiles and marvels, to the possibility that there is indeed grace worth “suffer[ing] the empty universe for.”If we are going to worry, let us also at least wonder. If we are going to be seized by terror, let us also be “seized by the topaz sky and the breeze through it.” A glittering, kinetic testament to vanishing—of biodiversity, of climate stability, of a sense of safety—Meltwater is both vindication and balm.

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Telescopes aim to observe the light of the cosmos, but Christopher Brean Murray turns his powerful lens toward the strange darkness of human existence in Black Observatory, selected by Dana Levin as winner of the Jake Adam York Prize. With speakers set adrift in mysterious settings—a motel in the middle of a white-sand desert, a house haunted by the ghost of a dead writer, an abandoned settlement high in the mountains, a city that might give way to riotous forest—Black Observatory upends the world we think we know. Here, an accident with a squirrel proves the least bizarre moment of a day that is ordinary in outline only. The future is revealed in a list of odd crimes-to-be. And in a field of grasses, a narrator loses himself in a past and present “human conflagration / of desire and doubt,” the “path to a field of unraveling.”Unraveling lies at the heart of these poems. Murray picks at the frayed edges of everyday life, spinning new threads and weaving an uncanny and at times unnerving tapestry in its place. He arranges and rearranges images until the mundane becomes distorted: a cloud “stretches and coils and becomes an intestine / embracing the anxious protagonist,” thoughts “leap from sagebrush / like jackrabbits into your high beams,” a hot black coffee tastes “like runoff from a glacier.” In the process, our world emerges in surprising, disquieting relief.Simultaneously comic and tragic, playful and deeply serious, Black Observatory is a singular debut collection, a portrait of reality in penumbra.

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Winner of the 2020 Max Ritvo Poetry Prize, The Clearing navigates the ever-shifting poles of violence and vulnerability with rich imagination and a singular incisiveness, “asserting feminist viewpoints and mortal terror in lush musical lines” (New York Times). The women in Allison Adair’s debut collection—luminous and electric from the first line to the last—live in places that have been excavated for gold and precious ores. They understand the nature of being hollowed out, of being “the planet’s stone / core as it tries to carve out one secret place and fails.” And so, as these poems take us from the midst of the Civil War to our current era, they chart fairy tales that are at once unsettling and painfully familiar, never forgetting that cruelty compels us to search for tenderness. “What if this time,” they ask, “instead of crumbs the girl drops / teeth, her own, what else does she have.” Adair sees the dirt beneath our nails, both alone and as a country, and pries it gently loose until we remember something of who we are, “from before . . . from a similar injury or kiss.” There is a dark tension in this work, and its product is wholly “an alchemical feat, turning horror into beauty” (Boston Globe).

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WINNER OF THE MILKWEED PRIZE FOR CHILDREN'S LITERATURE WINNER OF THE 2013 PATERSON PRIZE FOR BOOKS FOR YOUNG READERS ALA RAINBOW LIST RECOMMENDED BOOK AMELIA BLOOMER PROJECT LIST RECOMMENDED BOOK LAMBDA LITERARY AWARD FINALIST MINNESOTA BOOK AWARD FINALIST FOREWARD REVIEWS BOOK OF THE YEAR HONORABLE MENTION In the summer of 1926, sixteen-year-old Garnet Richardson is sent to a lake resort to escape the polio epidemic in the city. She dreams of indulging in ornithology and a visit to an amusement park--a summer of fun before she returns to a last year of high school, marriage, and middle-class homemaking. But in the country, Garnet finds herself under supervision of oppressive guardians, her father's wealthy cousin and the matron's stuck-up daughter. Only a job in a hat shop, an intense, secret relationship with a beautiful flapper, and a deep faith in her own heart can save her from the suffocation of traditional femininity in this coming-of-age story about a search for both wildness and security in an era full of unrest. It is the tale of a young woman's discovery of the science of risk and the art of rebellion, and, of course, the power of unexpected love.

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Somewhere between elegy and memoir, poetry and prose, Ed Pavlić’s Call It in the Air follows the death of a sister into song.Pavlić’s collection traces the life and death of his elder sister, Kate: a brilliant, talented, tormented woman who lived on her own terms to the very end. Kate’s shadow hovers like a penumbra over these pages that unfold a kaleidoscope of her world. A small-town apartment full of “paintings & burritos & pyramid-shaped empty bottles of Patron & an ad hoc anthology of vibrators.” A banged-up Jeep, loose syringes underfoot, rattles under Colorado skies. Near an ICU bed, Pavlić agonizes over the most difficult questions, while doctors “swish off to the tune of their thin-soled leather loafers.” And a diary, left behind, brims with revelations of vulnerability nearly as great as Pavlić’s own.But Call It in the Air records more than a relationship between brother and sister, more than a moment of personal loss. “I sit while eleven bodies of mine fall all over the countless mysteries of who you are,” he writes, while “Somewhere along the way, heat blasting past us & out the open jeep, the mountain sky turned to black steel & swung open its empty mouth.” In moments like these, Pavlić recognizes something of his big sister everywhere.Rived by loss and ravaged by grief, Call It in the Air mingles the voices of brother and sister, one falling and one forgiven, to offer an intimate elegy that meditates on love itself.

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From Michael Bazzett, poet and translator of The Popol Vuh, a collection that explores the myth of Echo and Narcissus, offering a reboot, a remix, a reimagining. “Narcissus was never one to see himself // in moving water. // He liked his image / still.” In The Echo Chamber, myth is refracted into our current moment. A time traveler teaches a needleworker the pleasures of social media gratification. A man goes looking for his face and is first offered a latex mask. A book reveals eerie transmutations of a simple story. And the myth itself is retold, probing its most provocative qualities—how reflective waters enable self-absorption, the tragic rightness of Echo and Narcissus as a couple. The Echo Chamber examines our endlessly self-referential age of selfies and televised wars and manufactured celebrity, gazing lingeringly into the many kinds of damage it produces, and the truths obscured beneath its polished surface. In the process, Bazzett cements his status as one of our great poetic fools—the comedian who delivers uncomfortable silence, who sheds layers of disguises to reveal light underneath, who smuggles wisdom within “rage-mothered laughter.” Late-stage capitalism, history, death itself: all are subject to his wry, tender gaze. By turns searing, compassionate, and darkly humorous, The Echo Chamber creates an echo through time, holding up the broken mirror of myth to our present-day selves.

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What is illusion—a deception, or a revelation? What is a poem—the truth, or “a diverting flash, / a mirror showing everything / but itself”?Nicky Beer’s latest collection of poems is a labyrinthine academy specializing in the study of subterfuge; Marlene Dietrich, Dolly Parton, and Batman are its instructors. With an energetic eye, she thumbs through our collective history books—and her personal one, too—in an effort to chart the line between playful forms of duplicity and those that are far more insidious.Through delicious japery, poems that can be read multiple ways, and allusions ranging from Puccini’s operas to Law & Order, Beer troubles the notion of truth. Often, we settle for whatever brand of honesty is convenient for us, or whatever is least likely to spark confrontation—but this, Beer knows, is how we invite others to weigh in on what kind of person we are. This is how we trick ourselves into believing they’re right. “Listen / to how quiet it is when I lose the self-doubt played / for so long I mistook it for music.”Real Phonies and Genuine Fakes asks us to look through the stereoscope: which image is the real one? This one—or this one, just here? With wisdom, humility, and a forthright tenderness, Nicky Beer suggests that we consider both—together, they might contribute to something like truth.

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Kingsley Tufts Poetry Award FinalistA thoughtful new collection of poems, one that deconstructs the deceptively simple question of what it means to be good—a good person, a good citizen, a good teacher, a good poet, a good father. With These Trees, Those Leaves, This Flower, That Fruit, Hayan Charara presents readers with a medley of ambitious analyses, written in characteristically wry verse. He takes philosophers to task, jousts with academics, and scrutinizes hollow gestures of empathy, exposing the dangers of thinking ourselves “separate / from [our] thoughts and experiences.” After all, “No work of love / will flourish out of guilt, fear, or hollowness of heart.” But how do we act on fullness of heart? How, knowing as we do that “genocide is inscribed in our earliest and holiest texts”? Thoughtful but never preachy, Charara sits beside us, granting us access to life’s countless unglamorous dilemmas: crushing a spider when we promised we wouldn’t, nearing madness from a newborn’s weeping, resenting our lovers for what happened in a dream. “Good poems demand to be written from inside the poet,” we are reminded. And that is where we find ourselves here: inside a lively and ethical mind, entertained by Charara’s good company even as goodness challenges us to do more.

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“Pankey writes poems that give us back, if not the world, our relation to it.” —DAN BEACHY-QUICK Taking its name from the Roman goddess of wisdom and her companion bird, Owl of Minerva turns astonishingly precise attention to the physical world, scouring it for evidence of the spiritual as the poet travels through such places as Appalachia, New England, Venice, Spain, the Caribbean, and the American Midwest. Along the way, Pankey ponders mortality, religious narratives and iconography, the continued press of childhood on the present, and the simultaneous violence and beauty of the natural world. At the book’s core are three ambitious poems titled “The Complete List of Everything,” which together offer an extended vision of American longing and connection—as well as a window into the sort of compendium of images and moments a sustained devotion to poetry can yield. “The hope was to construct // A coherent totality of meaning from odds / And ends,” Pankey writes, and so much of this book is about the difficult work of constructing meaning from the available material all around us. This book is an extraordinary example of lyric-meditative journaling—a large and profound collection by a brilliant poet writing at the height of his powers.

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FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE LONGLISTED FOR THE NATIONAL BOOK AWARD A NEW YORKER BEST POETRY BOOK OF 2018 A VULTURE BEST POETRY BOOK OF 2018 A LIBRARY JOURNAL BEST BOOK OF 2018 Selected by Fady Joudah as a winner of the 2017 National Poetry Series, Jos Charles’s revolutionary second collection of poetry, feeld, is a lyrical unraveling of the circuitry of gender and speech, defiantly making space for bodies that have been historically denied their own vocabulary. “i care so much abot the whord i cant reed.” In feeld, Charles stakes her claim on the language available to speak about trans experience, reckoning with the narratives that have come before by reclaiming the language of the past. In Charles’s electrifying transliteration of English—Chaucerian in affect, but revolutionary in effect—what is old is made new again. “gendre is not the tran organe / gendre is yes a hemorage.” “did u kno not a monthe goes bye / a tran i kno doesnt dye.” The world of feeld is our own, but off-kilter, distinctly queer—making visible what was formerly and forcefully hidden: trauma, liberation, strength, and joy. Urgent and vital, feeld composes a new narrative of what it means to live inside a marked body.

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Kathryn Cowles’s Maps and Transcripts of the Ordinary World is a collection that lingers in memory and place, in the unsettled distance between reality and its transcriptions. “I take seven photographs turning / in a circle, a panorama, / but how will I place them hanging / on a wall back home? Something already slipping,” Cowles writes. These poems surround a central question: how much of a moment is captured by the mechanisms we use to describe it? How much of the shore, the birds, the feeling? In pursuit of an answer, Cowles leads readers through a sequence of distinct landscapes (islands, plains, mountains, oceans) with both traditional lyricism and the playful refrains of a speaker fixated on the dilemma of representation. “Holy photograph. Holy actual world. Equal sign equal sign equal sign.” Maps and Transcripts of the Ordinary World both puzzles over and embraces the valley between literature and lived experience. Along the way, Cowles’s language is light but recursive, rotating around beloved places: a new house, a garden, a seemingly endless plane ride, a battery-operated spit of lamb, a photograph of a battery-operated spit of lamb, dogs, Sue, Ohio. This collection defamiliarizes and refamiliarizes the “actual world,” while navigating toward the clear and substantial stuff of living. Arresting on both visual and textual levels, Maps and Transcripts of the Ordinary World is executed with the utmost intelligence, humility, and tenderness.

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Winner of the PEN/Diamonstein-Spielvogel Award for the Art of the EssayWinner of the 2022 Southern Book PrizeAn Indie Next Selection for September 2021A Book Marks Best Reviewed Essay Collection of 2021A Literary Hub Most Anticipated Book of 2021A Country Living Best Book of Fall 2021A Garden & Gun Recommended Read for Fall 2021A Book Marks Best Reviewed Book of September 2021For the past four years, Margaret Renkl’s columns have offered readers of The New York Times a weekly dose of natural beauty, human decency, and persistent hope from her home in Nashville. Now more than sixty of those pieces have been brought together in this sparkling new collection.“People have often asked me how it feels to be the ‘voice of the South,’” writes Renkl in her introduction. “But I’m not the voice of the South, and no one else is, either.” There are many Souths—red and blue, rural and urban, mountain and coast, Black and white and brown—and no one writer could possibly represent all of them. In Graceland, At Last, Renkl writes instead from her own experience about the complexities of her homeland, demonstrating along the way how much more there is to this tangled region than many people understand.In a patchwork quilt of personal and reported essays, Renkl also highlights some other voices of the South, people who are fighting for a better future for the region. A group of teenagers who organized a youth march for Black Lives Matter. An urban shepherd whose sheep remove invasive vegetation. Church parishioners sheltering the homeless. Throughout, readers will find the generosity of spirit and deep attention to the world, human and nonhuman, that keep readers returning to her columns each Monday morning.From a writer who “makes one of all the world’s beings” (NPR), Graceland, At Last is a book full of gifts for Southerners and non-Southerners alike.

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Winner of the 2022 Southern Book PrizeWinner of the PEN/Diamonstein-Spielvogel Award for the Art of the EssayAn Indie Next Selection for September 2021A Book Marks Best Reviewed Essay Collection of 2021A Literary Hub Most Anticipated Book of 2021A Country Living Best Book of Fall 2022A Garden & Gun Recommended Read for Fall 2021A Book Marks Best Reviewed Book of September 2021From the author of the bestselling #ReadWithJenna/TODAY Show book club pick Late Migrations: A Natural History of Love and LossFor the past four years, Margaret Renkl’s columns have offered readers of The New York Times a weekly dose of natural beauty, human decency, and persistent hope from her home in Nashville. Now more than sixty of those pieces have been brought together in this sparkling new collection.“People have often asked me how it feels to be the ‘voice of the South,’” writes Renkl in her introduction. “But I’m not the voice of the South, and no one else is, either.” There are many Souths—red and blue, rural and urban, mountain and coast, Black and white and brown—and no one writer could possibly represent all of them. In Graceland, At Last, Renkl writes instead from her own experience about the complexities of her homeland, demonstrating along the way how much more there is to this tangled region than many people understand.In a patchwork quilt of personal and reported essays, Renkl also highlights some other voices of the South, people who are fighting for a better future for the region. A group of teenagers who organized a youth march for Black Lives Matter. An urban shepherd whose sheep remove invasive vegetation. Church parishioners sheltering the homeless. Throughout, readers will find the generosity of spirit and deep attention to the world, human and nonhuman, that keep readers returning to her columns each Monday morning.From a writer who “makes one of all the world’s beings” (NPR), Graceland, At Last is a book full of gifts for Southerners and non-Southerners alike.

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Nau cannot remember a time when she was not one with the world around her: with the fast breeze, the green grass, the high clouds, and the endless blue sky above the Shingled Spit. But her greatest joy is to visit the sea, where whales gather every morning to gaily spout rainbows. Then, one day, she finds a man in the mist where a whale should be: Reu, who has taken human form out of his Great Love for her. Together these first humans become parents to two whales, and then to mankind. Even after Reu dies, Nau continues on, sharing her story of brotherhood between the two species. But as these origins grow more distant, the old woman’s tales are subsumed into myth—and her descendants turn increasingly bent on parading their dominance over the natural world. Buoyantly translated into English for the first time by Ilona Yazhbin Chavasse, this new entry in the Seedbank series is at once a vibrant retelling of the origin story of the Chukchi, a timely parable about the destructive power of human ego—and another unforgettable work of fiction from Yuri Rytkheu, “arguably the foremost writer to emerge from the minority peoples of Russia’s far north” (New York Review of Books).

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Named a "Best Book of the Year" by New Statesman, New York Public Library, Chicago Public Library, and Washington Independent Review of BooksSouthern Book Prize FinalistFrom New York Times contributing opinion writer Margaret Renkl comes an unusual, captivating portrait of a family—and of the cycles of joy and grief that inscribe human lives within the natural world.Growing up in Alabama, Renkl was a devoted reader, an explorer of riverbeds and red-dirt roads, and a fiercely loved daughter. Here, in brief essays, she traces a tender and honest portrait of her complicated parents—her exuberant, creative mother; her steady, supportive father—and of the bittersweet moments that accompany a child’s transition to caregiver.And here, braided into the overall narrative, Renkl offers observations on the world surrounding her suburban Nashville home. Ringing with rapture and heartache, these essays convey the dignity of bluebirds and rat snakes, monarch butterflies and native bees. As these two threads haunt and harmonize with each other, Renkl suggests that there is astonishment to be found in common things: in what seems ordinary, in what we all share. For in both worlds—the natural one and our own—“the shadow side of love is always loss, and grief is only love’s own twin.”Gorgeously illustrated by the author’s brother, Billy Renkl, Late Migrations is an assured and memorable debut.

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Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of the novel Remind Me Again What Happened and the story collection The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Alexander Lumans (whose work has appeared in American Short Fiction, Gulf Coast, The Paris Review, Story Quarterly, and elsewhere), and Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic). Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected for inclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, Best Literary Translations, and the Pushcart Prize Anthology, and has often been listed as “notable” in the Best American Essays. According to Clifford Garstang’s US literary journal rankings, Copper Nickel is ranked number 10 for poetry and number 34 for fiction, out of more than 700 regularly publishing literary journals. Contributors to Copper Nickel have received numerous honors for their work, including the Nobel Prize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations. Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationally to bookstores and other outlets by Publishers Group West (PGW) and Accelerate 360.Issue 37 Includes: • Poetry Translation Folios with work by Ukrainian poet Alex Averbuch, translated by Oksana Maksymchuk and Max Rosochinsky; Russian poet Anzhelina Polonskaya, translated by Andrew Wachtel; and Italian fiction writer Elena Varvello, translated by Jennifer Panek. • A feature of poems by three South American poets—Claudia Magliano from Uruguay, Eliana Hernández Pachón from Colombia, and Úrsula Starke from Chile—edited by Jesse Lee Kercheval and featuring a Q&A with both the poets and the translators. • New Poetry by International Latino Book Award–winner William Archila; NEA Fellows Michael Bazzett and Amy Beeder; Lambda Literary Award–winner Benjamin S. Grossberg; Kate Tufts Discovery Award–finalist Julie Hanson; Grolier Prize–winner John Hodgen; four-time Pushcart Prize–winner Mark Irwin; Jake Adam York Prize–winners Yalie Saweda Kamara and Christopher Brean Murray; Audre Lorde Award–winners Meg Day and Maureen Seaton; relative newcomers Mansi Dahal, Christine Kwon, Weijia Pan, Patrick Wilcox, Alison Zheng; and many others. • New Fiction by Stephanie Carpenter, Becky Hagenston, Jacqueline Kolosov, and Luke Rolfes/ • New Essays by TS Eliot Award–winner and National Book Critics Circle Finalist Sinéad Morrissey and Anne P. Beatty. • Cover Art by New York–based Native-American “photo-weaving” artist, Sarah Sense.Contributor LocationsContributors to issue 37 come from all over the country and the world.U.S. cities/regions where contributors are concentrated include:Denver, CO (home of Copper Nickel and the Copper Nickel staff; contributors Andrew Hemmert andMaureen Seaton)Los Angeles, CA (contributors William Archila, Mark Irwin, and Michael Mark; contributing editorsVictoria Chang, Piotr Florczyk, Amaud Jamaul Johnson, and Chris Santiago)Minneapolis/St. Paul, MN (home of Milkweed Editions; contributors Mair Allen and MichaelBazzett; contributing editor V. V. Ganeshananthan)Houston, TX (contributors Ayokunle Falomo, Christopher Brean Murray, and Weijia Pan;contributing editor Kevin Prufer)New York, NY (contributors Mansi Dahal, Eliana Herández Pachón, and Tyler Mills)Chicago, IL (contributors Oksana Maksymchuk and Michael Robins; contributing editor RobertArchambeau)San Francisco Bay Area, CA (contributor Alison Zheng; contributing editor Randall Mann)Kansas City, MO (contributor Patrick Wilcox; contributing editor Robert Long Foreman)Greensboro, NC (contributor Anne P. Beatty; contributing editor Emilia Phillips)Dallas, TX (contributor Mag Gabbert; contributing editor Tarfia Faizullah)Boston/Cambridge, MA (contributing editors Martha Collins and Frederick Reiken)Pittsburgh, PA (contributing editors Joy Katz and Kevin Haworth)Maryville, MO (contributors John Gallaher and Luke Rolphes)US Cities/Regions with single contributors:West Hartford, CT (contributor Benjamin S. Grossberg)Cedar Rapids, IA (contributor Julie Hanson)Dubuque, IA (contributor Jeannine Marie Pitas)New Orleans, LA (contributor Christine Kwon)Worcester, MA (contributor John Hodgen)Frederick, MD (contributor Elizabeth Knapp)Hannock, MI (contributor Stephanie Carpenter)Grand Rapids, MI (contributor L. S. Klatt)Starkville, MS (contributor Becky Hagenston)Raleigh, NC (contributor Meg Day)Omaha, NE (contributor Trey Moody)Albuquerque, NM (contributor Amy Beeder)Cincinnati, OH (contributor Yalie Saweda Kamara)Easton, PA (contributor Owen McLeod)Lubbock, TX (contributor Jacqueline Kolosov)Lexington, VA (contributor Seth Michelson)Bellingham, WA (contributor Jeffrey Morgan)Ellensburg, WA (contributor Maya Jewell Zeller)Eau Claire, WI (contributor Dorothy Chan)Madison, WI (contributor Jesse Lee Kercheval)Ottawa, Ontario (contributor Jennifer Panek)Philadelphia, PA (contributing editor Adrienne Perry)Washington, DC (contributing editor David Keplinger)Boca Raton, FL (contributing editor A. Papatya Bucak)Boise, ID (contributing editor Emily Ruskovich)Lexington, KY (contributing editor Ada Limón)Princeton, NJ (contributing editor James Richardson)Canton, NY (contributing editor Pedro Ponce)Saint Louis, MO (contributing editor Niki Herd)Missoula, MT (contributing editor Sean Hill)Tulsa, OK (contributing editor Kaveh Bassiri)Blacksburg, VA (contributing editor Janine Joseph) International contributors live in:Montevideo, UruguayNewcastle-upon-Tyne, UKMexico City, MXSan Bernardo, ChileTurin, ItalyBishkek, Kyrgyzstan

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Issue 31/2 is a special double issue, featuring nationally renowned American writers and nine translation folios with generous selections of work by internationally known writers from Argentina, French-Speaking Belgium, Germany, Greece, Mexico, Poland, the , South Korea, and the Galician Region of Spain. The issue includes: Poetry by Pulitzer Prize winner Yusef Komunyakaa; National Book Award finalist and Los Angeles Times Book Prize winner Carl Phillips; Guggenheim Fellows Terese Svoboda, David Kirby, and Mark Halliday; two-time Lambda Literary Award winner Maureen Seaton; Rockefeller Foundation Fellow Pablo Medina; Lenore Marshall Prize winner Craig Morgan Teicher; Kresge Arts Foundation and Kundiman Fellow Matthew Olzmann; Ohioana Book Award winner Ruth Awad; Kundiman Prize winner Janine Joseph; Alice Fay Di Castagnola Award winner G. C. Waldrep; Lambda Literary Award finalist Randall Mann; as well as Michael Bazzett, Jehanne Dubrow, Sarah Gridley, Joy Katz, Hailey Leithauser, Claire Wahmanholm, and many others. Fiction by Maxim Loskutoff, an NPR Best Book author and New York Times Editor’s Pick; as well as by Cara Blue Adams, Gerri Brightwell, Aidan Forster, Ryan Habermeyer, Nihal Mubarak, and Carolyn Oliver. Nonfiction by PEN Center USA Literary Award and California Book Award winner Victoria Chang, art and literature critic Robert Archambeau (writing on the “spirituality” of Andy Warhol), and relative newcomer Caroline Plasket. Translation Folios with poetry by Filipino poet Mesándel Virtusio Arguelles (translated by Kristine Ong Muslim), Mexican poet Cesar Cañedo (translated by Whitney DeVos), (translated by Jennifer Kronovet), Franco-Belgian poet Guy Goffette (translated by Marilyn Hacker), Greek poet Dimitra Kotoula (translated by Maria Nazos), Polish poet Ewa Lipska (translated by Robin Davidson and Ewa Elżbieta Nowakowska, South Korean poet Moon Bo Young (translated by Hedgie Choi), Galician/Spanish poet Chus Pato (translated by Erín Moure), and Argentinian fiction writer, journalist, and political martyr Rodolfo Walsh (translated by Cindy Schuster). The cover features work by New York-based artist and Gordon Parks Foundation fellow Derrick Adams, whose work has shown nationally and been featured on the television shows Empire and Insecure.

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Issue 29 includes fiction by Berlin Prize winner and NEA Fellow V.V. Ganeshananthan, as well as relative newcomers Kimberly Garza, Maria Kuznetsova, Sam Simas, and Jennifer Wortman. Nonfiction by Best American Essays and Pushcart Prize: Best of the Small Presses contributor Paul Crenshaw and experimental lyric prose writer Debra Di Blasi. Poetry by Roethke Memorial Prize winner and Guggenheim Fellow David Baker, Anisfield-Wolf Book Award winner Martha Collins, Rome Prize winner Mark Halliday, Kate Tufts Discovery Award winner Janice N. Harrington, Jake Adam York Prize winner Brooke Matson, NEA Fellows Kaveh Bassiri and Matt Morton, Cité Internationale des Arts Fellow Jacques J. Rancourt, Alice Fay Di Castagnola Award winner Natasha Sajé, as well as Jan Beatty, TR Brady, Jenna Le, Samantha Lê, John A. Nieves, Roy White, and many others. Translation Folios featuring short fiction by Galician writer Xavier Queipo, translated by Jacob Rogers; and poetry by Catalan poet Gemma Gorga, translated by Sharon Dolin; Chinese dissident poet Shen Haobo, translated by Liang Yuing; and Slovenian poet Aleš Šteger, translated by Brian Henry. The cover features work by Denver-based artist Michael Gadlin, who was educated at the Pratt Institute in Brooklyn, NY, and whose work has been shown all over Denver, as well as in New York City and France. Gadlin is represented by K Contemporary Gallery in Denver.

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A surprising friendship develops between Eugenie, an escapee from the French Revolution, and Hannah, a Quaker girl, when they unite in the cause against slavery in this adventuresome tale of true nobility set amidst the rugged, eighteenth-century, Pennsylvania wilderness. Fifteen-year-old Eugenie de La Roque and her family barely escape the French Revolution with their lives. Along with several other noble families, they sail to America, where French Azilium, as the area came to be known, is being carved out of the rugged wilderness of Pennsylvania. Hannah Kimbrell is a young Quaker who has been chosen to help prepare French Azilum for the arrival of the aristocrats. In this wild place away from home and the memories they hold dear, Eugenie and Hannah find more in common than they first realize. With much to learn from each other, the girls unite to help free several slaves from their tyrannical French owner, a dangerous scheme that requires personal sacrifice in exchange for the slaves' freedom. A story of friendship against all odds, Waiting for the Queen is a loving portrait of the values of a young America, and a reminder that true nobility is more than a royal title.

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When Runt's mother dies, he’s sent to live with his older sister Helen, whom he hasn’t seen in years, not since she ran away. Avoiding the dreary trailer he now shares with Helen and her creepy boyfriend Cole, Runt spends his days rambling around his new town, especially the local cemetery. There he meets Mitch, a precocious boy in a wheelchair who’s battling cancer. The two lonely boys become fast friends, but as their friendship deepens, each faces a powerful crisis. As Runt and Mitch struggle with the harsh realities of poverty, abuse, and illness, each looks to the other for comfort and courage. Then, Helen’s problems complicate things even further. Can Runt help them both, and himself, too? The empathy, insight, and finely drawn characters seen in V. M. Caldwell’s first two novels are in full view in this moving story of a young boy’s attempts to create a better life for himself and those around him.

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Winner of a Wisconsin Library Association "Outstanding Achievement Award" What is the deep web? A locked door. A tool for oppression and for revolution. “An emptying drain, driven by gravity.” And in Patrick Johnson’s Gatekeeper—selected by Khaled Mattawa as the winner of the 2019 Ballard Spahr Prize for Poetry—it is the place where connection is darkly transfigured by distance and power. So we learn as Johnson’s speaker descends into his inferno, his Virgil a hacker for whom “nothing to stop him is reason enough to keep going,” his Beatrice the elusive Anon, another faceless user of the deep web. Here is unnameable horror—human trafficking, hitmen, terrorism recruitment. And here, too, is the lure of the beloved. But gone are the orderly circles of hell. Instead, Johnson’s map of the deep web is recursive and interrogatory, drawing inspiration and forms from the natural world and from science, as his speaker attempts to find a stable grasp on the complexities of this exhilarating and frightening digital world. Spooky and spare, Gatekeeper is a striking debut collection and a suspenseful odyssey for these troubled times.

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FINALIST FOR THE 2019 MINNESOTA BOOK AWARD IN POETRY “After the explosion: the longest night.” In Wilder—selected by Rick Barot as the winner of the 2018 Lindquist & Vennum Prize for Poetry—Claire Wahmanholm maps an alien but unnervingly familiar world as it accelerates into cataclysm. Here refugees listen to relaxation tapes that create an Arcadia out of tires and bleach. Here the alphabet spells out disaster and devours children. Here plate tectonics birth a misery rift, spinning loved ones away from each other across an uncaring sea. And here the cosmos—and Cosmos, as Carl Sagan’s hopeful words are fissured by erasure—yawns wide. Wilder is grimly visceral but also darkly sly; it paints its world in shades of neon and rust, and its apocalypse in language that runs both sublime and matter-of-fact. “Some of us didn't have lungs left,” writes Wahmanholm. “So when we lay beneath the loudspeaker sky—when we were told to pay attention to our breath—we had to improvise.” The result is a debut collection that both beguiles and wounds, whose sky is “black at noon, black in the afternoon.”

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Winner of the Max Ritvo Poetry Prize, The Milk Hours is an elegant debut that searches widely to ask what it means to exist in a state of loss. “We lived overlooking the walls overlooking the cemetery.” So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy. These are poems of frequent swerves and transformations, which never stray far from an engagement with science, geography, art, and aesthetics, nor from the dream logic that motivates their incessant investigations. Indeed, while John James begins with the biographical—the haunting loss of a father in childhood, the exhausted hours of early fatherhood—the questions that emerge from his poetic synthesis are both timely and universal: what is it to be human in an era where nature and culture have fused? To live in a time of political and environmental upheaval, of both personal and public loss? How do we make meaning, and to whom—or what—do we turn, when such boundaries so radically collapse?

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"That's the magic of this book—the way Adam Clay, line after line, enacts the mind on the page." —MAGGIE SMITH To Make Room for the Sea reckons with the notion that nothing in this world is permanent. Led by an introspective speaker, these poems examine a landscape that resists full focus, and conclude that “it’s easier to love what we don’t know.” “I hold this leaf I think / you should see, but I can’t quite / say why,” Adam Clay writes, as he navigates a variety of both personal and ecological fixations: disembodied bullfrog croaks, the growth of his child, a computer’s dreaded blue screen of death. The observations in To Make Room for the Sea convey both grief for the Anthropocene and hope for the future. The poems read like field notes from someone who knows the world and hopes to know it differently. On the precipice of great change and restructured perspective, Clay’s poems linger in “the second between taking in a vision and processing it,” in the moment when the world is less a familiar system and more a palette of colors and potential. To Make Room for the Sea delights as much as it mourns. It looks forward as much as it reflects. Deft and hopeful, the poems in this collection gently encourage us to take another look at a world “only some strange god might have thought up / in a drunken stumble.”

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Incantatory, intimate, and incendiary, the poems of this award-winning debut are filled with explosive wit and humor like "a knife you don't see coming." A kaleidoscopic intelligence flows through Beautiful Zero, embracing forms of culture high and low in effort to finding meaning in the chaos. Poems about Shark Week and college football sit beside Roman Polanski and biting critiques of modern war. A series of poems set in a Kaiser Permanente hospital tear into the world of privatized health care while simultaneously charting a story of love in the face of catastrophe. Yet even at her most surreal, Willoughby always finds the pulsing heart at the core of the poem. She embraces what she cannot understand about both the world and herself because after all, "Nothing is as random as they say it is. / You were born the weirdo that you are."

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Moving from the mundane to the profound, first through observation of fact and matter, then shifting perspective, engaging a deeper sense of self, these poems re-imagine things great and small, making us care deeply about the world around us. In this cultivated and intricately crafted collection, Sally Keith shows the self as a crucible of force--that which compels us to exert ourselves upon the world, and meanwhile renders us vulnerable to it. Force by which a line unfurls--as in Robert Smithson's colossal Spiral Jetty--or leads with forward motion--a train hurdling along the west-reaching railroad; Edweard Muybridge's photographic reels charting animal and human locomotion. With poems remarkable in their clarity, captivating in their matter-of-factness, Keith examines the impossible and inevitable privacy of being a person in the world, meanwhile negotiating an inexorable pull toward the places we call home--one we alternately try and fail to resist.

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Poetry Finalist for the 2019 Writers' League of Texas Book Award Over the course of four collections of poems, Alex Lemon has become known for his kinetic voice and sense of the dark absurd. Now this electrifying poet moves in a new direction—with a book-length sequence at once intensely vulnerable and thoroughly of our moment. Populated by visions and ghosts, Another Last Day follows its speaker on a search through a natural landscape turned on its edge, the landscape of today’s America. In these poems, the moments of an ordinary day are rendered in raw, nearly hallucinatory detail: Ants drunk on cherry-red hummingbird nectar. An ambulance rushing into the distance. Endless rain. And, stranger: A dog carrying a hand in its mouth. An emergency room filled with moans. A place where reality and dreams merge, where “the dead refuse to be left / underground.” When Lemon’s speaker invites us “behind my closed eyes,” it is into the vision of a speaker so plugged into the livingness of this world that he is tossed to the edge of living itself. And yet, in his poems, this openness is never just painful. “the world is a terrible place,” he writes, “but I want to last forever // clinging to its teeth.”

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His arresting ninth collection of poems, Eric Pankey's Trace locates itself at a threshold between faith and doubt--between the visible and the invisible, the say-able and the ineffable, the physical and the metaphysical. Also a map of the poet's journey into a deep depression, these poems confront one man's struggle to overcome depression's smothering weight and presence. And with remarkable clarity and complexity, Trace charts the poet's attempt to be inspired, to breathe again, to give breath and life to words. Ever solemn, ever existential, Pankey's poems find us at our most vulnerable, the moment when we as humans--believers and nonbelievers alike--must ultimately pause to question the uncertain fate of our souls.

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“Full of spondaic gravity and grit.” —BRUCE BOND Showcasing the fortitude and wisdom, the honey and fire, the jab and embrace of a master poet, With Mouths Open Wide is a landmark collection of more than three decades of writing. Including work from John Caddy’s previous five books as well as new poems drawn from his experiences recovering from a stroke, the sum total of this expansive career carefully mediates the balance of outside and inside, sequentially rebuilding a delicate web of cognition, identity, and perception. From the revulsion on a child’s face as Caddy’s recovering body struggles to walk, to the gift of a night nurse revealing her tattoo, these poems defy consolation in their consideration of mortality. Caddy engages readers with his acerbic wit, his base profundity, his downright honesty, and a no-nonsense, take-no-prisoners attitude. With the blinkers off, this poetic vision comprehends a fulsome picture of human, and animal, experience—a flawed and loved slideshow of the world.

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“Hands-down one of the most beautiful books of the year.” —NPRFrom beloved, award-winning poet Aimee Nezhukumatathil comes a debut work of nonfiction—a collection of essays about the natural world, and the way its inhabitants can teach, support, and inspire us.As a child, Nezhukumatathil called many places home: the grounds of a Kansas mental institution, where her Filipina mother was a doctor; the open skies and tall mountains of Arizona, where she hiked with her Indian father; and the chillier climes of western New York and Ohio. But no matter where she was transplanted—no matter how awkward the fit or forbidding the landscape—she was able to turn to our world’s fierce and funny creatures for guidance.“What the peacock can do,” she tells us, “is remind you of a home you will run away from and run back to all your life.” The axolotl teaches us to smile, even in the face of unkindness; the touch-me-not plant shows us how to shake off unwanted advances; the narwhal demonstrates how to survive in hostile environments. Even in the strange and the unlovely, Nezhukumatathil finds beauty and kinship. For it is this way with wonder: it requires that we are curious enough to look past the distractions in order to fully appreciate the world’s gifts.Warm, lyrical, and gorgeously illustrated by Fumi Nakamura, World of Wonders is a book of sustenance and joy.

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Gutenberg's invention of movable type in the fifteenth century introduced an era of mass communication that permanently altered the structure of society. While publishing has been buffeted by persistent upheaval and transformation ever since, the current combination of technological developments, market pressures, and changing reading habits has led to an unprecedented paradigm shift in the world of books. Bringing together a wide range of perspectives -- industry veterans and provocateurs, writers, editors, and digital mavericks -- this invaluable collection reflects on the current situation of literary publishing, and provides a road map for the shifting geography of its future: How do editors and publishers adapt to this rapidly changing world? How are vibrant public communities in the Digital Age created and engaged? How can an industry traditionally dominated by white men become more diverse and inclusive? Mindful of the stakes of the ongoing transformation, Literary Publishing in the 21st Century goes beyond the usual discussion of 'print vs. digital' to uncover the complex, contradictory, and increasingly vibrant personalities that will define the future of the book.

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Spanning one year of the author's life, I Will Not Leave You Comfortless is the intimate memoir of a boy's coming to consciousness in small-town Missouri, from a writer who "is known for beautifully expressive and strikingly lucid prose" (Thisbe Nissen). 1984 is the year that greets Jackson with first loves, first losses, and a break from the innocence of boyhood that will never be fully repaired. The seeming security of family is at once and forever shaken by the life-altering events of that pivotal year. Through tenderhearted, steadfast prose--redolent of the glories of outdoor life on the family farm--Jackson recalls the deeply sensual wonders of his rural Midwestern childhood--bicycle rides in September sunlight; the horizon vanishing behind tall grasses. Reanimating stories both heart wrenching and humorous, tragic and triumphant, Jackson weaves past, present, and future into the rich Missouri landscape. With storytelling informed by profound sense of place and an emotional memory remarkably sound, Jackson stands poised to join the ranks of renowned memoirists.

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Over the course of six critically acclaimed books--including a compelling meditation on Moby-Dick--Dan Beachy-Quick has established himself as "one of America's most significant young poets" (Lyn Hejinian). In Wonderful Investigations, Beachy-Quick broaches "a hazy line, a faulty boundary" between our daily world and one rich with wonder; a magical world in which, through his work as a writer, Beachy-Quick participates with a singular combination of critical intelligence and lyricism. Touching on the works of Emerson, Thoreau, Proust, and Plato, among others, Beachy-Quick outlines the problem of duality in modern thought--the separation of the mind and body, word and referent, intelligence and mystery, human and natural--and makes the case for a fuller kind of nature poetry, one that strives to overcome this false separation, and to celebrate the notion that "wonder is the fact that the world has never ceased to be real."

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Stately oaks, ivy-covered walls, the opposite sex -- these are the things that likely come to mind for most Americans when they think about the "nature" of college. But the real nature of college is hidden in plain sight: it's flowing out of the keg, it's woven into the mascots on our T-shirts. Engaging in a deep and richly entertaining study of "campus ecology," The Nature of College explores one day in the life of the average student, questioning what "natural" is and what "common sense" is really good for and weighing the collective impacts of the everyday. In the end, this fascinating, highly original book rediscovers and repurposes the great and timeless opportunity presented by college: to study the American way of life, and to develop a more sustainable, better way to live.

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The Suspension of Time is a collection of essays on Dinnerstein's masterpiece, The Fulbright Triptych. It includes writing by an extraordinarily diverse range of contributors, from the Pulitzer-Prize-winning novelist Jhumpa Lahiri to acclaimed poet Dan Beachy-Quick, and from art historians such as Colin Eisler, Albert Boime, and Thomas M. Messer to composer George Crumb and actor John Turturro. Each essay in The Suspension of Time offers its unique perspective, but taken as a whole they develop a dialogue of collaboration that directly reflects The Fulbright Triptych's inherent message of symphonic connectivity, and demonstrate the rich potential for collaboration between visual, literary, musical, and other arts.

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