Search results for ""Milkweed Editions""

The first time journalist Jon Lurie meets Jose Perez, the smart, angry, fifteen-year-old Lakota-Puerto Rican draws blood. Five years later, both men are floundering. Lurie, now in his thirties, is newly divorced, depressed, and self-medicating. Jose is embedded in a haze of women and street feuds. Both lack a meaningful connection to their cultural roots: Lurie feels an absence of identity as the son of a Holocaust survivor who is reluctant to talk about her experience, and for Jose, communal history has been obliterated by centuries of oppression. Then Lurie hits upon a plan to save them. After years of admiring the journey described in Eric Arnold Sevareid's 1935 classic account, Canoeing with the Cree, Lurie invites Jose to join him in retracing Sevareid's route and embarking on a mythic two thousand-mile paddle from Breckenridge, Minnesota, to the Hudson Bay. Faced with plagues of mosquitoes, extreme weather, suspicious law enforcement officers, tricky border crossings, and Jose's preference for Kanye West over the great outdoors, the journey becomes an odyssey of self-discovery. Acknowledging the erased native histories that Sevareid's prejudicial account could not perceive, and written in gritty, honest prose, Canoeing with Jose is a remarkable journey.

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"Where did such longings reside in us, passed on through blood or stories? It seemed to me then, hearing his words, that a father's life is a boy's first story." --from Cures for Hunger At once an extraordinary family story and a highly unconventional portrait of the artist as a young man, Cures for Hunger is a singular, deeply affecting memoir, by one of the most acclaimed young writers in the world today. "In Cures for Hunger, Deni Y. Bechard has created a moving story of rootlessness, rebellion, lost love, criminal daring, regret, and restless searching. Driven above all by the need to grasp his father's secrets, he has written his narrative in skillful, resonant prose graced with a subtle tone of obsession and longing." --Leonard Gardner, author of Fat City

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Toward the Livable City is intended for commuters, suburbanites, and city dwellers concerned about making their lives more livable and interested in knowing what that might mean. Combining first hand accounts of the attractions and distractions of city life, this book also introduces a wide range of perspectives about creating successful, livable cities, with examples from across America and around the world. The book conveys what leading thinkers—including James Howard Kunstler, Jane Holtz Kay, Tony Hiss, Phillip Lopate, Bill McKibben, Myron Orfield, and john powell, among others—say about such topics as smart growth, opportunity-based housing, traffic calming, pedestrian rights, regional planning, riverfront redevelopment, urban agriculture, and the pleasures of a saunter down tree-lined streets to restaurants, theatres, shops, with the presence of other people. The mayor of Curitiba, Brazil, closed downtown streets to cars and built bus stops that load and unload passengers with the same speed as subways. In Boston, urban agriculture produces more than 10,000 pounds of vegetables each season. Minneapolis has redeveloped its riverfront while Manhattan ponders what to do along the Hudson. With these and other examples, Toward the Livable City reveals the many benefits of parks, healthy neighborhoods, and mixed use communities.

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The western mindset is arguably one of the greatest threats to the world’s ecological balance. Corporatism and globalization are two of the obvious villains here, but what part does human nature play in the problem? Since its inception in 1982, Orion magazine has been a forum for looking beyond the effects of ecological crises to their root causes in human culture. Less an anthology than a vision statement, this timely collection challenges the division of human society from the natural world that has often characterized traditional environmentalism. Edited and introduced by Barry Lopez, The Future of Nature encompasses such topics as local economies, the social dynamics of activism, America’s incarceration society, naturalism in higher education, developing nations, spiritual ecology, the military-industrial landscape, and the persistent tyranny of wilderness designation. Featuring the fine writing and insights for which Orion is famous, this book is required reading for anyone interested in a livable future for the planet.

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Ordinary Wolves depicts a life different from what any of us has known: Inhuman cold, the taste of rancid salmon shared with shivering sled dogs, hunkering in a sod igloo while blizzards moan overhead. But this is the only world Cutuk Hawcley has ever known. Born and raised in the Arctic, he has learned to provide for himself by hunting, fishing, and trading. And yet, though he idolizes the indigenous hunters who have taught him how to survive, when he travels to the nearby Inupiaq village, he is jeered and pummeled by the native children for being white. When he leaves for the city as a young man, two incompatible realities collide, perfectly capturing "the contrast between the wild world and our ravaging consumer culture." (Louise Erdrich). In a powerful coming of age story, a young man isolated by his past must choose between two worlds, both seemingly bent on rejecting him.

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From a masterful storyteller, comes a Midwestern epic that illuminates the majestic in the commonplace. When David Rhodes burst onto the American literary scene in the 1970s, he was hailed as "a brilliant visionary" (John Gardner), and compared to Sherwood Anderson and Marilynne Robinson. In Driftless, his "most accomplished work yet" (Joseph Kanon), Rhodes brought Words, WI, to life in a way that resonated with readers across the country. Now with Jewelweed, this beloved author returns to the same out-of-the-way hamlet and introduces a cast of characters who all find themselves charged with overcoming the burdens left by the past, sometimes with the help of peach preserves or pie. After serving time for a dubious conviction, Blake Bookchester is paroled and returns home. The story of Blake's hometown is one of challenge, change, and redemption, of outsiders and of limitations, and simultaneously one of supernatural happenings and of great love. Each of Rhodes's characters--flawed, deeply human, and ultimately universal--approach the future with a combination of hope and trepidation, increasingly mindful of the importance of community to their individual lives. Rich with a sense of empathy and wonder, Jewelweed offers a vision in which the ordinary becomes mythical.

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From a fresh and highly original voice, a debut collection of stories that illuminates the state of America today with an inscrutable, eerily clarifying light. In 'Lubbock Is Not a Place of the Spirit,' a Texas Tech student recognizable as John Hinckley, Jr. writes hundreds of songs for Jodie Foster as he grows increasingly estranged from reality. The young couple in 'The Thing About Norfolk,' socially isolated after a cross-country move, are dismayed to find themselves unable to resist sexually deviant urges. And in the deeply touching title story, a husband's layoff stretches a couple to their limit as they struggle to care for their emotionally unbalanced young son. Set in cities across America and spanning the last half-century, this collection draws a bead on our national identity, distilling our obsessions, our hauntings, our universal predicament.

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From a bar hosting its nightly Sad Hour to the moonlit sandbox of a retired army general, Jim Heynen's new collection of micro fiction presents character sketches of strange yet fascinating men and women. Modeled after Theophrastus' Characters -- brief, verbal snapshots of people created by the Greek philosopher -- Heynen captures not just the quirks and eccentricities of his characters, but also their humanity. Guilty of only ordinary and forgivable sins, these sketches reveal universal human idiosyncrasies as much as they do the individual characters. Paired with the wonderfully evocative illustrations of renowned illustrator Tom Pohrt, Ordinary Sins will appeal to story lovers and collectors of beautifully made books alike.

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Seventeen-year-old Alice Marie Krayenbraak is beautiful, witty, a star student, and a gifted athlete. On the surface, she has it all. But in Alice's hometown of Dutch Center, Iowa, nothing is as it seems. Behind the facade of order and tidiness, the family farm is failing. Alice's mother is behaving strangely amid apocalyptic fears of Y2K. And her parents have announced their plans to send her special-needs sister Aldah away. On top of it all, the uniformly Dutch Calvinist town has been rattled by an influx of foreign farm workers. It's the fall of senior year, and Alice now finds herself at odds with both family and cultural norms when she befriends and soon falls in love with Nickson Vang, the son of Hmong immigrants. Caught in a period of personal and community transformation, Alice and Nickson must navigate their way through vastly different traditions while fighting to create new ones of their own. Funny and provocative, amusing and unsettling, The Fall of Alice K. marks a watershed moment in the publishing career of author, Jim Heynen.

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Neil Fox has made a fortune off the "head we win/tails you lose" venture capital deals negotiated by his brother, costing him almost everything but money. His ex-wife and daughter spurn him, and he lost his young son years ago. He now lives a carefully plotted life, working as a lawyer at a small investment-banking firm and spending nights at home with a drink. When the affable Bud Younger moves in next door--on a parcel that Neil had sold off--Neil takes an almost instant dislike to him. Bud is nearly everything Neil is not--a gregarious, energetic striver loved by his intact family. When Bud asks Neil to fund a new business venture, he reluctantly accepts, setting in motion events that hurtle to a startling and haunting conclusion. The Arriviste delves into the psyche of avarice and envy, presenting a portrait of a man both ordinary and monstrous.

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This powerful, sweeping novel continues the saga of Dshurukawaa, the Tuvan shepherd boy introduced in The Blue Sky. Torn between the onset of visions and pressure from his family to attend a state boarding school, the adolescent attempts to mediate the pull of spirituality and pragmatism, old ways and new. Taken from his ancestral home, he reunites with his siblings at a boarding school, where his brother also serves as principal. Soon he comes to understand that the main purpose of the school is to strip the Tuvans of their language and traditions, and to make them conform to party ideals. When tragedy strikes, Dshurukawaa begins to sense the larger import of his visions, and with it a possible escape. Tschinag's lyrical language, his striking characterizations, and his evocation of a singular way of life make The Gray Earth an unforgettable read and a worthy follow-up to The Blue Sky.

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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. A nationally distributed literary journal housed at the University of Colorado, Denver, Copper Nickel was Founded by poet Jake Adam York in 2002. On hiatus since York's sudden death in 2012, it is now being revitalized under the editorship of Wayne Miller, the former Editor-in-Chief (2010-14) of the award winning journal Pleiades. Working with Miller are poetry editors Brian Barker and Nicky Beer, and fiction editors Teague Bohlen and Joanna Luloff. Starting in 2015, Copper Nickel will be published twice a year, in March and September. Copper Nickel 20 -- the first issue produced by this new staff -- will feature poetry, fiction, and nonfiction, including work by National Book Critics Circle Award-winning poets Troy Jollimore and D. A. Powell; National Book Award and Pulitzer Prize finalist Adrian Matejka; National Poetry Series winner Erika Meitner; along with Pushcart Prize winners, Guggenheim Fellows, and many other decorated writers. The issue will also feature two Translation Folios, focused on Cape Verdean poet Corsino Fortes and German poet Jan Wagner.

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“A full-bodied literary achievement bustling with sweat, regret, and sound.” —KIESE LAYMON Ndiya Grayson returns to her childhood home of Chicago as a young professional, but even her high-end job in a law office can’t protect her from half-repressed memories of childhood trauma. One evening, vulnerable and emotionally disarrayed, she goes out and meets her equal and opposite: Shame Luther, a no-nonsense construction worker by day and a self-taught piano player by night. The love story that ensues propels them on an unforgettable journey from Chicago’s South Side to the coast of Kenya as they navigate the turbulence of long-buried pasts and an uncertain future. A stirring novel tuned to the clash between soul music’s vision of our essential responsibility to each other and a world that breaks us down and tears us apart, Another Kind of Madness is an indelible tale of human connection.

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A meditation on art’s longevity and the brevity of human life from the highly acclaimed, award-winning author of Frail-Craft and Inmost.Jessica Fisher brings “the faraway close,” through ruthless yet tender interrogations of possibility and permanence. Set against the backdrop of the fallen empire of Rome, Daywork takes its title from the giornata—the name in fresco painting for the section of wet plaster that can be painted in a single day, where each “day” is marked by the hidden seams in a finished painting.In a voice that is as poised as it is unmistakably urgent, Fisher aims to uncover what adheres against the fabric of history, and what becomes effaced over time. Her search leads her to discover signs of ruin of a different kind, and her poems begin to coalesce around a single perilous realization: that time is not merely an agent of erasure. Time i

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What shape does Dutch art take in the American imagination? Austere, perhaps. Insular. Fixated on nature, every writer’s “traditional source of consolation.” And all of these qualities may indeed be true of the Netherlands’ early literature. But in Rinkeldekinkel, readers will encounter a radically different body of Dutch poetics—one defined by international cultural exchange, linguistic invention, and contemporary life. Over three decades, the twenty-three poets featured here celebrate the colorful world that blossomed in the wake of Margaret Thatcher, Ronald Reagan, and global Cold War conservatism. Poets, writes anthology editor Rob Schouten, took this moment to adopt a “new view on reality,” one filled with “bewilderment and excitement.” The rise of multiculturalism in the Netherlands, the influence of pop culture, and a cultural shift away from highly formal language led to the development of a public voice that mirrored the changes happening across an increasingly diverse Western Europe. From Mustafa Stitou’s surreal ruminations on death and faith, to Elma van Haren’s energetic and evocative verse, to Hester Knibbe’s ruminative feminist ekphrases, each poet in this anthology brings something distinct to the page. Rinkeldekinkel is a celebration of artistic variety that English-speaking audiences will be delighted to attend. “Nothing’s tied and all is loose,” writes Ingmar Heytze, so we all should “dance and know that [we] exist.”

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Finalist for the 2021 Kate Tufts Discovery Award Winner of the 2020 Minnesota Book Award in Poetry Against the backdrop of the war on drugs and the 1992 Los Angeles Riots, a Korean girl comes of age in her parents’ bodega in the Queensbridge projects, offering a singular perspective on our nation of immigrants and the tensions pulsing in the margins where they live and work. In Su Hwang’s rich lyrical and narrative poetics, the bodega and its surrounding neighborhoods are cast not as mere setting, but as an ecosystem of human interactions where a dollar passed from one stranger to another is an act of peaceful revolution, and desperate acts of violence are “the price / of doing business in the projects where we / were trapped inside human cages—binding us / in a strange circus where atoms of haves / and have-nots always forcefully collide.” These poems also reveal stark contrasts in the domestic lives of immigrants, as the speaker’s own family must navigate the many personal, cultural, and generational chasms that arise from having to assume a hyphenated identity—lending a voice to the traumatic toll invisibility, assimilation, and sacrifice take on so many pursuing the American Dream. “We each suffer alone in / tandem,” Hwang declares, but in Bodega, she has written an antidote to this solitary hurt—an incisive poetic debut that acknowledges and gives shape to anguish as much as it cherishes human life, suggesting frameworks for how we might collectively move forward with awareness and compassion.

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Issue 34 Includes • Poetry Translation Folios with work by Guatemalan K’iche Maya poet Humberto Ak’ab’al, translated by Michael Bazzett; Lithuania superstar poet Tomaž Šalamun, translated by Brian Henry; Spanish poet Sandra Santana, translated by Geoffrey Brock; and Venezuelan poet-in-exile Jesüs Amalio, translated by David Brunson, Jr. Plus a Fiction Translation Folio with two stories by nternationally renowned Portuguese writer Sophia de Mello Breyner Andresen, translated by Alexis Levitin. • Poetry by National Book Critics Circle Award winner Ada Limón; Guggenheim Fellows Paul Guest and Mark Halliday; Ruth Lilly Fellow Marcus Wicker; William Carlos Williams Awardwinner Martha Collins; Rilke Prize winner David Keplinger; NEA Fellows Michael Bazzett, Brian Henry, Lance Larsen, Alex Lemon, Jenny Molberg, and Corey Van Landingham; as well as Kelli Russell Agodon, Abdul Ali, Sean Cho A., Michael Dumanis, Chanda Feldman, Melissa Ginsburg, Matty Layne Glasgow, Niki Herd, Alicia Mountain, Lis Sanchez, Indriani Sengupta, and many others. • Fiction by Madeline Haze Curtis, Maria Poulatha, Alyssa Quinn, Kate Weinberg, and Tara Isabel Zambrano. • Nonfiction by Brooke Barry and Robert Long Foreman. • The cover features a recent piece by Minneapolis-based artist Dyani White Hawk, whose work is in the collections of the Museum of Modern Art (MoMA), the Walker Art Center, the Crystal Bridges Museum of American Art, the Denver Art Museum, the Minneapolis Institute of Art, theSmithsonian National Museum of the American Indian, and elsewhere.

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“Birds are my almanac. They tune me into the seasons, and into myself.”So begins this lively collection of essays by acclaimed filmmaker and novelist Priyanka Kumar. Growing up at the feet of the Himalayas in northern India, Kumar took for granted her immersion in a lush natural world. After moving to North America as a teenager, she found herself increasingly distanced from more than human life and discouraged by the civilization she saw contributing to its destruction. It was only in her twenties, living in Los Angeles and working on films, that she began to rediscover her place in the landscape—and in the cosmos—by way of watching birds.Tracing her movements across the American West, this stirring collection of essays brings the avian world richly to life. Kumar’s perspective is not that of a list keeper, counting and cataloguing species. Rather, from the mango-colored western tanager that rescues her from a bout of altitude sickness in Sequoia National Park to ancient sandhill cranes in the Bosque del Apache National Wildlife Refuge, and from the snowy plovers building shallow nests with bits of shell and grass to the white-breasted nuthatch that regularly visits the apricot tree behind her family’s casita in Santa Fe, for Kumar, birds “become a portal to a more vivid, enchanted world.”At a time when climate change, habitat loss, and the reckless use of pesticides are causing widespread extinction of species, Kumar’s reflections on these messengers from our distant past and harbingers of our future offer luminous evidence of her suggestion that “seeds of transformation lie dormant in all of our hearts. Sometimes it just takes the right bird to awaken us.”

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“We are matter and long to be received by an Earth that conceived us, which accepts and reconstitutes us, its children, each of us, without exception, every one. The journey is long, and then we start homeward, fathomless as to what home might make of us.” —from The River You TouchWhen Chris Dombrowski burst onto the literary scene with Body of Water, the book was acclaimed as “a classic” (Jim Harrison) and its author compared with John McPhee. Dombrowski begins the highly anticipated The River You Touch with a question as timely as it is profound: “What does a meaningful, mindful, sustainable inhabitance on this small planet look like in the anthropocene?”He answers this fundamental question of our time initially by listening lovingly to rivers and the land they pulse through in his adopted home of Montana. Transplants from the post-industrial Midwest, he and his partner, Mary, assemble a life based precariously on her income as a schoolteacher, his as a poet and fly-fishing guide. Before long, their first child arrives, followed soon after by two more, all “free beings in whom flourishes an essential kind of knowing […], whose capacity for wonder may be the beacon by which we see ourselves through this dark epoch.” And around the young family circles a community of friends—river-rafting guides and conservationists, climbers and wildlife biologists—who seek to cultivate a way of living in place that moves beyond the mythologized West of appropriation and extraction.Moving seamlessly from the quotidian—diapers, the mortgage, a threadbare bank account—to the metaphysical—time, memory, how to live a life of integrity—Dombrowski illuminates the experience of fatherhood with intimacy and grace. Spending time in wild places with their children, he learns that their youthful sense of wonder at the beauty and connectivity of the more-than-human world is not naivete to be shed, but rather wisdom most of us lose along the way—wisdom that is essential for the possibility of transformation.

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A magnetic debut collection of stories about the daily lives and labors of girls and women in rural America.In Call Up the Waters, the natural world is an escape hatch, a refuge, a site of work, and an occasional antagonist. In the title story, a devastating drought leads a mother of two deep into the Colorado Rockies in search of water. In “The Handler,” a woman leaves her boyfriend for the New Hampshire woods and fifty-seven sled dogs. A distress call from a boat in Massachusetts Bay compels a mother, in “Sea Women,” to plumb her daughter’s secrets. A girl torn between truth and expectation shows her courage in a funereal performance in “Barn Burning.” And in “Bending the Map,” a woman turns the tables on her obsessive, would-be lover after a powerful storm ravages her canyon home.The characters in these ten stories—search-and-rescue workers, dog trainers, naturalists, archaeologists, and dowsers—are each fundamentally shaped by the environment in which they live and work. They seek meaning through labor, connection through jobs. But in that searching they often find themselves far from their destination. Familiar landscapes suddenly feel strange. Unfamiliar spaces offer something like hope. Off the map and off the grid, these characters, and their regrets and devotions, are nevertheless immediately, intimately recognizable.Sharply observant but steadily elegant, textured with empathy and grit, Call Up the Waters marks the arrival of a remarkable new talent.

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An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from National Book Critics Circle Award winner, National Book Award finalist and U.S. Poet Laureate Ada Limón.“I have always been too sensitive, a weeper / from a long line of weepers,” writes Limón. “I am the hurting kind.” What does it mean to be the hurting kind? To be sensitive not only to the world’s pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings—and to know that those beings are resolutely their own, that they “do not / care to be seen as symbols”?With Limón’s remarkable ability to trace thought, The Hurting Kind explores those questions—incorporating others’ stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families.Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. “Slippery and waddle thieving my tomatoes still / green in the morning’s shade,” writes Limón of a groundhog in her garden, “she is doing what she can to survive.”

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Selected by Amaud Jamaul Johnson for the 2023 Jake Adam York Prize, Yalie Saweda Kamara’s Besaydoo is an elegantly wrought love song to home—as place, as people, as body, and as language.A griot is a historian, a living repository of communal legacies with “a story pulsing in every blood cell.” In Besaydoo, Kamara serves as griot for the Freeborn in Oakland, the Sierra Leonean in California, the girl straddling womanhood, the woman re-discovering herself. “I am made from the obsession of detail,” she writes, setting scenes from her own multifaceted legacy in sharp relief: the memory of her mother’s singing, savory stacks of lumpia, a church where “everyone is broken, but trying.” A multitudinous witness. Kamara psalms from the nexus of many languages—Krio, English, French, poetry’s many dialects—to

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In a careful examination of personal and collective histories, David Keplinger’s Ice indexes the findings from memory’s slow melt—stories and faces we’ve forgotten, bones hidden in frost.“I am asking how much more / I have to learn from this,” Keplinger writes. “You are asking that same question.” In these poems, he turns to our predecessors for guidance in picking apart the forces that govern modernity—masculinity, power, knowledge, conquest. Cryptic visitants arrive in the form of Gilgamesh, “searching for a way to stay in pain forever”; a grandmother mending socks, “her face in the dark unchanging”; Emily Dickinson, lingering at her window; a lion cub, asleep in ice for millennia.With each comes a critique of the Anthropocene, our drive to possess the unpossessable. With each comes also the discovery of what—and who—we’ve harmed in the discovering. Ice shelves collapse. Climate change melts layers of permafrost to reveal a severed wolf’s head. A pair of grease-smudged reading glasses calls up a mother’s phantom. “I am sorry / for the parts you gave me / that I’ve misshapen,” Keplinger writes.So is there “a point to all this singing”? Our ancestors cannot answer. The wolf’s head can’t, either. But sometimes, “out of the snow of confusion,” something answers, “saying gorgeous things like yes.” And the flowers “open up / their small green trumpets anyway.”

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I Love Information, selected by Brian Teare as a winner of the 2022 National Poetry Series, is a sophisticated and cerebral examination of knowledge, belief, and which begets which. Egret feathers. Pulverized chickpeas. A “faint but constant series of ovals and lines” that, remarkably, spell the name Penelope. “Nobody owns the meaning of these things,” Courtney Bush writes, but this does not stop the poet from seeking, from “reading meaning in the garbage” and in the flowers growing there. What does she seek? Not facts. Instead, something transcendent and mysterious, knowledges that can only be unlocked through experimentation with language, with art. In lieu of linear thought, Bush’s poems operate under unique logic systems that grow and branch like vines, driven not only by the urge to learn but also by the need for connection—between people, things, stories. Her speakers make cognitive leaps with youthful credulity, eager and open. “It comes down to a few things,” says one. “Vessels and bags / Every crude tool / Every day a friend to tell.” And another: “I want to tell you what a sword is. / To want to tell you has been my entire life.” They are explorers of the pathways between our outer and inner worlds, translators between what is and what could be. Bush’s reverence for the act of thought echoes that of a religious scholar gazing at the heavens. In order to learn, these poems suggest, we must believe the not-known is worth knowing. We must let belief hover around all parts of our lives, as a child does. “To have the idea of the secret chord is to have the secret chord,” Bush writes. To learn, we must make believe.

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Ask the Brindled, selected by Rick Barot as a winner of the 2021 National Poetry Series, bares everything that breaks between “seed” and “summit” of a life—the body, a people, their language. It is an intergenerational reclamation of the narratives foisted upon Indigenous and queer Hawaiians—and it does not let readers look away.In this debut collection, No‘u Revilla crafts a lyric landscape brimming with shed skin, water, mo‘o, ma‘i. She grips language like a fistful of wet guts and inks the page red—for desire, for love, for generations of blood spilled by colonizers. She hides knives in her hair “the way my grandmother—not god— / the way my grandmother intended,” and we heed; before her, “we stunned insects dangle.” Wedding the history of the Kingdom of Hawaiʻi with contemporary experiences of queer love and queer grief, Revilla writes toward sovereignty: linguistic, erotic, civic. Through the medium of formal dynamism and the material of ʻŌiwi culture and mythos, this living decolonial text both condemns and creates.Ask the Brindled is a song from the shattered throat that refuses to be silenced. It is a testament to queer Indigenous women who carry baskets of names and stories, “still sacred.” It is a vow to those yet to come: “the ea of enough is our daughters / our daughters need to believe they are enough.”

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Marena struggles to remember the past: a time before the Zero Tolerance Party murdered her mother and put her father under house arrest. A time before they installed listening devices in every home and outlawed writing. A time when she was free. But it feels like the only thing the new, repressive government wants is to have Marena forget. When the Minister of Education, Helmsley Greengritch, cracks down on Marena's youth training facility, she knows she has to fight back. In the spirit of her revolutionary mother, she forms her own resistance group--the White Rose. With nothing but words and a hunger for freedom, Marena fights for what she knows is right, only to discover the ZT Party's horrifying plans for the country. A thrilling story of resistance and the power of art, The Silenced draws upon the true story of Sophie Scholl and the White Rose group's resistance to the Nazi party.

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NATIONAL BESTSELLER “Whoever you are, you will find yourself and your own world in the expansiveness of this collection.” -Margaret Renkl, New York Times“A lovely book to take with you to read at the end of your next hike.” -Los Angeles TimesPublished in association with the Library of Congress and edited by the twenty-fourth Poet Laureate of the United States, a singular collection of poems reflecting on our relationship to the natural world by fifty of our most celebrated contemporary writers.  In recent years, our poetic landscape has evolved in profound and exciting ways. So has our planet. Edited and introduced by the twenty-fourth Poet Laureate of the United States, Ada Limón, this book challenges what we think we know about “nature p

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Acclaimed poet and translator Dan Beachy-Quick offers this newest addition to the Seedbank series: a warm, vivid rendering of the earliest Greek intellects, inviting us to reconsider writing, and thinking, as a way of living meaningfully in the world. “We have lost our sense of thinking as the experience that keeps us in the world,” writes Beachy-Quick, and the figures rendered in The Thinking Root—Heraclitus, Anaximander, Empedocles, Parmenides, and others—are among the first examples we have in Western civilization of thinkers who used writing as to record their impressions of a world where intuition and observation, and spirit and nature, have yet to be estranged. In these pages, we find clear-eyed ideas searching for shapes and forms with which to order the world, and to reveal our life in flux. Drawn from “words that think,” these ancient Greek texts are fresh and alive in the hands of Beachy-Quick, who translates with the empathy of one who knows that “a word is its own form of life.” In aphorisms, axioms, vignettes, and anecdotes, these first theories of the world articulate a relationship to the world that precedes our story of its making, a world where “the beginning and the end are in common.” A remarkable collection from one of our most accomplished poets, The Thinking Root renders a primary apprehension of life amidst life, a vision that echoes our gaze upon the stars.

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A Minnesota Book Award Finalist in Poetry A CLMP Firecracker Award Finalist in Poetry A Bustle Best Book of 2020 A Refinery29 Best New Book of Fall 2020 “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw. Additional recognition: A New York Times Book Review “New & Noteworthy Poetry Collection” An NBC Out “Best LGBTQ Book to Gift This Holiday Season” A Book Marks “Most Anticipated Poetry Collection of Fall/Winter 2020” A Lambda “Most Anticipated LGBTQ Book of December 2020” A Chicago Review of Books “Must-Read Book of December 2020”

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Finalist for the 2021 Housatonic Book Award in Poetry Winner of the 2019 Max Ritvo Poetry Prize, The Clearing is “a lush, lyrical book about a world where women are meant to carry things to safety and men leave decisively” (Henri Cole). Luminous and electric from the first line to the last, Allison Adair’s debut collection navigates the ever-shifting poles of violence and vulnerability with a singular incisiveness and a rich imagination. The women in these poems live in places that have been excavated for gold and precious ores, and they understand the nature of being hollowed out. From the midst of the Civil War to our current era, Adair charts fairy tales that are painfully familiar, never forgetting that violence is often accompanied by tenderness. Here we wonder, “What if this time instead of crumbs the girl drops / teeth, her own, what else does she have”? The Clearing knows 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 beauty in this work, and Adair is a skilled stenographer of the silences around which we orbit. Described by Henri Cole as “haunting and dirt caked,” her unromantic poems of girlhood, nature, and family linger with an uncommon, unsettling resonance.

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Winner of the Max Ritvo Poetry Prize, Ryann Stevenson’s Human Resources is a sobering and perceptive portrait of technology’s impact on connection and power.Human Resources follows a woman working in the male-dominated world of AI, designing women that don’t exist. In discerning verse, she workshops the facial characteristics of a floating head named “Nia,” who her boss calls “his type”; she loses hours researching “June,” an oddly sexualized artificially intelligent oven; and she spends a whole day “trying to break” a female self-improvement bot. The speaker of Stevenson’s poems grapples with uneasiness and isolation, even as she endeavors to solve for these problems in her daily work. She attempts to harness control by eating clean, doing yoga, and searching for age-defying skin care, though she dreams “about the department / that women get reassigned to after they file / harassment complaints.” With sharp, lyrical intelligence, she imagines alternative realities where women exist not for the whims of men but for their own—where they become literal skyscrapers, towering over a world that never appreciated them.Chilling and lucid, Human Resources challenges the minds programming our present and future to consider what serves the collective good. Something perhaps more thoughtful and human, Stevenson writes: “I want to say better.”

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A 2022 Washington State Book Award finalist Environmental collapse. The betrayals and alliances of the animal world. A father who works in a timber mill. The celebrities in our feeds, the stories we tell ourselves. Loss, never-ending loss. Self-Portrait with Cephalopod—selected by francine j. harris as winner of the Jake Adam York Prize—is an account of being a girl, and then a woman, in the world; of being a living creature on a doomed planet; of being someone who aspires to do better but is torn between attention and distraction. Here, Kathryn Smith offers observations and anxieties, prophecies and prayers, darkness and light—but never false hope. Instead, she incises our vanities and our hypocrisies, “the bloody hand holding back / the skin,” revealing “the world’s inner workings, / rubbery and caught between the teeth.” These are the poems of someone who feels her and our failings in the viscera, in the bones, and who bears witness to that pain on the page. Self-Portrait with Cephalopod is an urgent and necessary collection about living in this precarious moment, meditative and resolutely unsentimental.

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A Kirkus Reviews Best Nonfiction Book of 2023A Library Journal Recommended Read for 2023A Ms. Magazine Most Anticipated Book of 2023A vibrant collection of personal and lyric essays in conversation with archival objects of Black history and memory.What are the politics of nature? Who owns it, where is it, what role does it play in our lives? Does it need to be tamed? Are we ourselves natural? In A Darker Wilderness, a constellation of luminary writers reflect on the significance of nature in their lived experience and on the role of nature in the lives of Black folks in the United States. Each of these essays engages with a single archival object, whether directly or obliquely, exploring stories spanning hundreds of years and thousands of miles, traveling from roots to space and finding rich Blackness everywhere.Erin Sharkey considers Benjamin Banneker’s 1795 almanac, as she follows the passing of seasons in an urban garden in Buffalo. Naima Penniman reflects on a statue of Haitian revolutionary François Makandal, within her own pursuit of environmental justice. Ama Codjoe meditates on rain, hair, protest, and freedom via a photo of a young woman during a civil rights demonstration in Alabama. And so on—with wide-ranging contributions from Carolyn Finney, Ronald Greer II, Alexis Pauline Gumbs, Sean Hill, Michael Kleber-Diggs, Glynn Pogue, Katie Robinson, and Lauret Savoy—unearthing evidence of the ways Black people’s relationship to the natural world has persevered through colonialism, slavery, state-sponsored violence, and structurally racist policies like Jim Crow and redlining.A scrapbook, a family chest, a quilt—and an astounding work of historical engagement and literary accomplishment—A Darker Wilderness is a collection brimming with abundance and insight.

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Named a “Best Book of 2019” by the New York Public Library Finalist for the 2020 Lambda Literary Award in Lesbian Poetry Society of Midland Authors Honoree in Poetry In March 2011, a tsunami caused by an earthquake collided with nearby power plant Fukushima Daiichi, causing the only nuclear disaster in history to rival Chernobyl in scope. Those who stayed at the plant to stabilize the reactors, willing to sacrifice their lives, became known internationally as the Fukushima 50. In tsunami vs. the fukushima 50, Lee Ann Roripaugh takes a piercing, witty, and ferocious look into the heart of the disaster. Here we meet its survivors and victims, from a pearl-catcher to a mild-mannered father to a drove of mindless pink robots. And here, too, we meet Roripaugh’s unforgettable Tsunami: a force of nature, femme fatale, and “annihilatrix.” Tsunami is part hero and part supervillain—angry, loud, forcefully defending her rights as a living being in contemporary industrialized society. As humanity rebuilds in disaster’s wake, Tsunami continues to wreak her own havoc, battling humans’ self-appointed role as colonizer of Earth and its life-forms. “She’s an unsubtle thief / a giver of gifts,” Roripaugh writes of Tsunami, who spits garbage from the Pacific back into now-pulverized Fukushima. As Tsunami makes visible her suffering, the wrath of nature scorned, humanity has the opportunity to reconsider the trauma they cause Earth and each other. But will they look?

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Simultaneously occupying past, present, and future, Black Stars escapes the confines of time and space, suffusing image with memory, abstraction with meaning, and darkness with abundant light. In these masterful translations, the poems sing out with the kind of wisdom that comes to those who have lived through war, traveled far, and seen a great deal. While the past may evoke village life and the present a postmodern urban world, the poems often exhibit a dual consciousness that allows the poet to reside in both at once. From the universe to the self, we see Lap's landscapes grow wider before they focus: black stars receding to dark stairways, infinity giving way to now. Lap's universe is boundless, yes, but also "just big enough / To have four directions / With just enough wind, rain, and trouble to last."

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As the Amazon burns, Fábio Zuker shares stories of resistance, self-determination, and kinship with the land. In 2007, a seven-ton minke whale was found stranded on the banks of the Tapajós River, hundreds of miles into the Amazon rainforest. For days, environmentalists, journalists, and locals followed the lost whale, hoping to guide her back to the ocean, but ultimately proved unable to save her. Ten years later, journalist Fábio Zuker travels to the state of Pará, to the town known as “the place where the whale appeared,” which developers are now eyeing for mining, timber, and soybean cultivation. In these essays, Zuker shares intimate stories of life in the rainforest and its surrounding cities during an age of raging wildfires, mass migration, populist politics, and increasing deforestation. As a group of Venezuelan migrants wait at a bus station in Manaus, looking for a place more stable than home, an elder in Alter do Chão becomes the first Indigenous person in Brazil to die from COVID-19 after years of fighting for the rights and recognition of the Borari people. The subjects Zuker interviews are often torn between ties with their ancestral territories and the push for capitalist gain; The Life and Death of a Minke Whale in the Amazon captures the friction between their worlds and the resilience of movements for autonomy, self-definition, and respect for the land that nourishes us.

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Winner of the 2022 Banff Mountain Book Award for Environmental LiteratureAn Outside Magazine Favorite Book of 2021A Book Riot Best Book of 2021A Shelf Awareness Best Book of 2021“Places do not belong to us. We belong to them.” The child of South Asian migrants, Kazim Ali was born in London, lived as a child in the cities and small towns of Manitoba, and made a life in the United States. As a man passing through disparate homes, he has never felt he belonged to a place. And yet, one day, the celebrated poet and essayist finds himself thinking of the boreal forests and lush waterways of Jenpeg, a community thrown up around the building of a hydroelectric dam on the Nelson River, where he once lived for several years as a child. Does the town still exist, he wonders? Is the dam still operational? When Ali goes searching, however, he finds not news of Jenpeg, but of the local Pimicikamak community. Facing environmental destruction and broken promises from the Canadian government, they have evicted Manitoba’s electric utility from the dam on Cross Lake. In a place where water is an integral part of social and cultural life, the community demands accountability for the harm that the utility has caused. Troubled, Ali returns north, looking to understand his place in this story and eager to listen. Over the course of a week, he participates in community life, speaks with Elders and community members, and learns about the politics of the dam from Chief Cathy Merrick. He drinks tea with activists, eats corned beef hash with the Chief, and learns about the history of the dam, built on land that was never ceded, and Jenpeg, a town that now exists mostly in his memory. In building relationships with his former neighbors, Ali explores questions of land and power―and in remembering a lost connection to this place, finally finds a home he might belong to.

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“We are matter and long to be received by an Earth that conceived us, which accepts and reconstitutes us, its children, each of us, without exception, every one. The journey is long, and then we start homeward, fathomless as to what home might make of us.”—from The River You TouchWhen Chris Dombrowski burst onto the literary scene with Body of Water, the book was acclaimed as “a classic” (Jim Harrison) and its author compared with John McPhee. Dombrowski begins the highly anticipated The River You Touch with a question as timely as it is profound: “What does a meaningful, mindful, sustainable inhabitance on this small planet look like in the Anthropocene?”He answers this fundamental question of our time initially by listening lovingly to rivers and the land they pulse through in his adopted home of Montana. Transplants from the post-industrial Midwest, he and his partner, Mary, assemble a life based precariously on her income as a schoolteacher, his as a poet and fly-fishing guide. Before long, their first child arrives, followed soon after by two more, all “free beings in whom flourishes an essential kind of knowing […], whose capacity for wonder may be the beacon by which we see ourselves through this dark epoch.” And around the young family circles a community of friends—river-rafting guides and conservationists, climbers and wildlife biologists—who seek to cultivate a way of living in place that moves beyond the mythologized West of appropriation and extraction.Moving seamlessly from the quotidian—diapers, the mortgage, a threadbare bank account—to the metaphysical—time, memory, how to live a life of integrity—Dombrowski illuminates the experience of fatherhood with intimacy and grace. Spending time in wild places with their children, he learns that their youthful sense of wonder at the beauty and connectivity of the more-than-human world is not naivete to be shed, but rather wisdom most of us lose along the way—wisdom that is essential for the possibility of transformation.

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A Library Journal Best Book of Poetry of 2021A collection born of polyphony and the rhythms of our cosmos—intimate in its stakes, celestial in its dreams.Tethered to Stars inhabits the deductive tongue of astronomy, the oracular throat of astrology, and the living language of loss and desire. With an analytical eye and a lyrical heart, Fady Joudah shifts deftly between the microscope, the telescope, and sometimes even the horoscope. His gaze lingers on the interior space of a lung, on a butterfly poised on a filament, on the moon temple atop Huayna Picchu, on a dismembered live oak. In each lingering, Joudah shares with readers the palimpsest of what makes us human: “We are other worms / for other silk roads.” The solemn, the humorous, the erotic, the transcendent—all of it, in Joudah’s poems, steeped in the lexicon of the natural world. “When I say honey,” says one lover, “I’m asking you whose pollen you contain.” “And when I say honey,” replies another, “you grip my sweetness / on your life, stigma and anthophile.”Teeming with life but tinged with a sublime proximity to death, Tethered to Stars is a collection that flows “between nuance and essentialization,” from one of our most acclaimed poets.

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