Search results for ""Red Hen Press""

"Camille Dungy has a garden of verses that spring up with the sunshine or hide with you in the dusk. "Cleaning" best sums up What to Eat, What to Drink, What to Leave for Poison, an amazing poetry collection, when Dungy pens "understanding clearly/what is fatal to the body./I only understand too late/what can be fatal to the heart." Take an ice tea and sit on the veranda or take a glass of wine and prop up in bed but whatever way you like your poetry, this book is a must." —Nikki Giovanni, author of The Collected Poems of Nikki Giovanni and Black Feeling, Black Talk "The sorrow here is ironic and unsentimental and yet Camille Dungy's vision is all joy. Even as anti-psalms, these poems are pure transcendence." —Chris Abani, author of GraceLand and Dog Woman "Camille Dungy shares with us in this manuscript her sharp, clear and honest ear and her unswerving commitment to the voice of life. She is a brave poet writing true poems and I salute the music and courage of her work." —Lucille Clifton, author of Blessing the Boats and Mercy

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David Mason was born in Washington State, forty-odd degrees north latitude, and now lives on the Australian island of Tasmania, forty-odd degrees south latitude. That Pacific crossing is the work of a lifetime of devotion and change. The rich new poems of Pacific Light explore the implications of the light as well as peace and its opposing forces. What does it mean to be an immigrant and face the ultimate borders of our lives? How can we say the word home and mean it? These questions have obsessed Mason in his major narrative works, The Country I Remember and Ludlow, as well as his lyric and dramatic writing. Pacific Light is a culmination and a deepening of that work, a book of transformations, history and love, endurance and unfathomable beauty, by a poet “at the height of his powers.”

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

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Just as Odin’s ravens, named Huginn and Muninn (translated to Thought and Memory), would whisper everything he couldn’t see, so too do these and other mythical ravens—of Athena, the Biblical Eve and Noah, Coronis, and others—function in Jamison’s essay collection: they are tools to interpret and make meaning of their world, rent as it is between the rural and urban, the romantic and abusive, where language is both surfeit and dearth. This collection sees mythical ravens murmur alongside the actual bone and viscera of crows, starlings, and pigeons in disarming explorations of desire and destruction, the body and creation. Carrion is an ambitiously structured collection that honors the literary forebears at its center while lamenting our inability to communicate anything—love, need, hope—except in metaphors.

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The pieces in this collection capture the feeling of being buffeted by great gusts of middle-aged longing. What began as one woman’s quarrel with Buddhism, especially its doctrine of non-attachment, morphs into a larger question: What’s the right way to love a person or a thing? With voluptuous detail and rigorous self-interrogation, Jennifer Brice looks for answers in family lore, personal experience, conversations with friends, and beloved books. The result is a tender, moving, far-reaching—sometimes delightfully funny, sometimes achingly poignant—exploration of the powerful ties that bind us to one another and to the world around us.

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Black Creek, South Carolina: a small town in the swamps that convinces itself that nothing bad has ever happened and nothing bad ever will. Black Creek is the sort of place where young girls roam the streets free to imagine who they are and who they’ll become. Where women sell pies and plants at the courthouse square. Where the fire department rescues cats from the tops of electric poles. And what trouble there is, they’ll tell you, stays past the town limits, in the run-down house-turned-strip-club and Lake Darpo, where certain birds are going extinct. These eleven closely related portraits show that the real threats have long taken root. Black Creek is a place of poignancy and absurdity, love and loss, loneliness and the brief charges of connection. Its residents will do almost anything to protect what they think is theirs.

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The Weight of Ghosts is a circling of grief following the death of the author’s older son when he was 21, a horror that was compounded by her younger son’s drug use, the country’s slow eruption as it dealt with its own brokenness, and reckoning the author had to do regarding her own story. Weight is a lyrical reclaiming and an insistence by the author that she own the rights to her story, which is American flavored with an unreleasing elsewhere. Weight is an immigrant story and a love story. While it is raw and honest and tragic, it is also a hopeful, funny, and original telling that demonstrates the strength of the human spirit, while offering a vocabulary for these most unmanageable human experiences.

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Set in 2018 against the backdrop of an overcrowded, fetid refugee camp on the beautiful Greek island of Samos, The Good Deed follows the stories of four women living in the camp and an American tourist who comes to Samos to escape her own dark secret. When the tourist does a “good deed,” she triggers a crisis that brings her and the refugee women into a conflict that escalates dramatically as each character struggles for what she needs.

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Playful, kinetic, and devastating in turn, You Were Watching from the Sand is a collection in which Haitian men, women, and children who find their lives cleaved by the interminably strange bite back at the bizarre with their own oddities. In “belly,” a young woman abandoned by her only living relative makes a person from the mud beside her backyard creek. In “We Feel it in Punta Cana,” a domestic child servant in the Dominican Republic tours through his own lush imagination to make his material conditions more bearable. In “The Oldest Sensation is Anger,” a teenager invites a same-aged family friend into her apartment and uncovers a spate of disturbing secrets about her. Written in a mixture of high lyricism, absurdist comedy, and Haitian cultural witticisms, this is a collection whose dynamism matches that of its characters at every beat and turn.

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A Plucked Zither explores what happens to language and thus emotions and relationships under conditions of migration, specifically refugee migration from Vietnam, and its aftermath. Crisscrossing between making a home in the U.S. and home in Vietnam, the speaker tries non-linear, multilingual voice(s) that demonstrates the disparate nature of memory and the operation of other ways of knowing. Efforts to speak reflect the severing created by historical forces of war and imperialism, while speaking makes connection possible and remains tied to that very history. Vuong leans on the anti-war Vietnamese singer and songwriter, Trịnh Công Sơn, for a poetic lineage on grief, longing, and justice. Rather than being sunken with loss, the speaker(s) move with it, leaping across gaps.

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All animals struggle to survive. In John Barr's poems the success of the heron hunting, the albatross breeding, the inchworm spinning give proof of life. But for us that struggle includes the eternal presence of war. Does the fall of Rome, the Battle of Shiloh, the Normandy Landings––and today's wars—give proof of life or only of the struggle?

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Sybil White Brown returns from Boston to the small West Coast city where she once lived, hoping to heal after a terrible loss. Summoned to jury duty, she is dismayed to be assigned to the jury of a murder trial alongside her ex-husband with whom she had a rancorous divorce. As the trial progresses, she and her ex tiptoe around each other but eventually become disastrously entangled. Meanwhile, Sybil obsesses about the female defendant, whom she believes is innocent. The situation explodes during jury deliberations when Sybil comes face-to-face with her own unexpressed rage.

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

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A campy dark comedy for the angry and the disenchanted.Last November, I found a dead body inside the freezer that my roommate keeps inside the garage. My first thought was to call the police, but Jignesh hadn’t paid his share of the rent just yet. It wasn’t due until the thirtieth, and you know how difficult it is to find people who pay on time. Jignesh always does. Also, he had season tickets for the LA Opera, and well . . . Madame Butterfly. Tosca. The Flying Dutchman . . . at the Dorothy Chandler . . . you cannot say no to that, can you? Well, it’s been a few good months now—Madame Butterfly was just superb, thank you. However, last Friday, I found a second body inside that stupid freezer in the garage. This time I’m evicting Jignesh. My house isn’t a mortuary . . . alas, I need to come up with some money first. You’ll understand, therefore, that I desperately need to sell this novel. Just enough copies to help me survive until I find a job . . . what could I do that doesn’t demand too much effort? We have a real treasure here, anyhow. Some chapters are almost but not quite pornographic. You could safely lend this to nana afterward!

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John Weir, author of The Irreversible Decline of Eddie Socket, a defining novel of 1980s New York in its response to the global AIDS crisis, has written a story collection that chronicles the long aftermath of epidemic death, as recorded in the tragicomic voice of a gay man who survived high school in the 1970s, the AIDS death of his best friend in the 1990s, and his complicated relationship with his mother, “a movie star without a movie to star in,” whose life is winding to a close in a retirement community where she lives alone with her last dog.

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Former best friends Scott and Errol meet unexpectedly at Oso Lake, a remote Canadian fly-fishing paradise where, five years before, fresh out of college, they had the time of their lives. Their situations, though, have changed, their high hopes quashed by workaday realities and, in Errol’s case, marriage to Claire, who has come with him trying to stave off divorce. But Oso Lake has changed. The fall before, a woman’s severed head was left in a campfire pit beside the lake. The shadow cast by her murder is darkened further by a fire-scarred white truck driver who claims to be a long-dead Native shaman and has plans to eradicate not only Scott, Errol, and Claire, but all of Western civilization. The beauty of the wilderness becomes, every day, more threatening and perverse. But the worst danger the vacationers face may be themselves.

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tender gravity charts Marybeth Holleman’s quest for relationship to the more-than-human world, navigating her childhood in North Carolina to her life in Alaska, with deep time in remote land and seascapes. Always the focus is on what can be found by attention to the world beyond her own human skin, what can be found there as she negotiates loss—the loss of beloved places, wild beings, her younger brother. “do not think,” she says to her mother, “that i love a bear more than my brother. / think instead that i cannot distinguish / the variations in / the beat of a heart.” Inevitably, solace is found in the wild world: “step back toward that joy-sap rising, step back / into the only world that is.” In a narrative arc of seeking, falling, and finding, we hear in Holleman’s exquisitely attentive immersion clear reverberations of Mary Oliver, of Linda Hogan, of Walt Whitman. These poems of grief and celebration pulse in and out, reaching to the familiar moon and out to orphan stars of distant galaxies, then pull close to a small brown seabird and an on-the-knees view of a tiny bog plant.

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"A riveting amalgam of history, family epic, anticolonial/antiwar treatise, cultural crossroads, and more, this latest from best-selling author Liu (Face) is a fascinating, irresistible marvel."—Terry Hong, STARRED Library Journal review "Liu's prose is masterful. A good choice for book groups and for readers who are unafraid to be swept away."—*Starred Booklist Review* "With a mesmerizing setting and transporting detail, Glorious Boy balances tropical beauty with raw, physical risk, and dives deep into grim truths about parental love and the power and limitation of language. This is a page-turner, sometimes violent but always revelatory. Readers won’t easily forget the trials this young couple faces, or the landscape that changes them all."—Five Star Review from The Seattle Review of Books What will it take to save Ty? This is the question that haunts Claire and Shep Durant in the wake of their four-year-old’s disappearance. Until this moment, Port Blair’s British surgeon and his young wife, a promising anthropologist, have led a charmed life in the colonial backwaters of India’s Andaman Islands—thanks in part to Naila, a local girl who shares their mysteriously mute son’s silent language. But with the war closing in and mandatory evacuation underway, the Durants don’t realize until too late that Naila and Ty have vanished. While Claire sails for Calcutta, Shep stays to search for the children. Days later, the Japanese invade the Andamans, cutting off all communication. Fueled by guilt and anguish, Claire uses her unique knowledge of the islands’ tribes to make herself indispensable to an all-male reconnaissance team headed back behind enemy lines. Her secret plan: rescue Shep and Ty. Through the brutal odyssey that follows, she’ll discover truths about sacrifice that both shatter and transcend her understanding of devotion.

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In 1924, John Lars Nelson travels to the Shumagin Islands in the Gulf of Alaska. He tells people he is doing a botanical survey, but the real goal of his quest is a mysterious orchid described by a naturalist in 1741 and never again seen. During his journey, John Lars hitches a ride on a schooner whose bootlegger captain has a hidden past. John Lars also meets a young Aleut woman, Natasha Christiansen. She becomes his guide and leads him to question the validity of everything he thought he knew. Together, they reach Nagai Island where the search for the orchid comes to a violent conclusion.

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Against the Wind is an elegantly written story of relationships involving six principal characters, strands of whose lives braid together after a chance reunion among three of them. A successful environmental lawyer is forced to take himself to task when he realizes that everything about his work has betrayed his core beliefs. A high school English teacher asks her former high school love to take up her environmental cause. A transgender adolescent male raised by his grandparents struggles to excel in a world hostile to his kind. A French-Canadian political science professor finds himself left with a choice between his cherished separatist cause and his marriage and family. An accomplished engineer is chronically unable to impress his more accomplished father sufficiently to be named head of the international wind technology company his father founded. The Quebec separatist party’s Minister of Natural Resources, a divorcée, finds herself caught between her French-Canadian lover and an unexpected English-Canadian suitor.

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Ron Koertge wants to do nothing but delight. Armed with wit and brains, he introduces readers to Dr. Frankenstein's frustrated fiancée and gives an alternate reading to the Bible story about Lot's nameless wife. He rues the loss of a favorite pair of underpants, attends a bachelor party where Mr. Magoo makes an appearance, and suggests what cheerleaders will be like in the future. Bashful, one of the seven dwarfs, spills the beans about Snow White. Death comes home from a business trip to his favorite meal, and Epeius—who designed the Trojan horse—turns out to be a better architect than a warrior. Saint George muses about girls, and on her honeymoon Mrs. Mark Trail wishes her husband would take his eyes off that moose get down to business. In a sestina, Ron probes the psyches of the Hardy boys. A half dozen charming couplets tell about an experience at a local car wash, and a domestic reveals the secret life of clothes. Like Reverend Ike and John Lennon said, "Whatever gets you through the night"—this book will do that and carry you right into the next day. Guaranteed.

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This full collection of fifty-six poems reflecting on the concept of self, loss, fragility, and the constructs we must create in order to face the transient nature of life was named a finalist in the National Poetry Series, The New Issues Poetry Prize, The Four Way Books Intro Prize, and others. It was also listed as a “remarkable work” in the Tupelo Press 2012 open submission period

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Ron Koertge eagerly tries his talented hand at Flash Fiction. In “BFF,” a teenage girl from the near-future orders friends from Amazon. A few pages later, a robot who travels what is left of the world and observes through “well-engineered eyes” claims that the sound of turbines is his lullaby. A fed-up daughter finds a foolproof way to do away with her awful mother, while in “Jesus Dog” a mysterious animal helps a broken man recover. A page from Lois Lane’s diary reveals a shocking secret. Many mothers and daughters will see themselves in Ron’s version of the Persephone & Demeter story. Readers are ushered aboard a mysterious train and later invited to listen in as a teacher chats with a peculiar student named Oliver Oliver. A distant relative of Leda takes her boyfriend to the arboretum with grisly results, and Mr. Weenie tells his daughter how he and her mother met. “Sex World,” the title story, turns out to not be about sex at all, but heartbreak. In these and dozens more, Ron lives up to his reputation as someone who is funny the way the truly serious often are.

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In Elise Paschen’s prize-winning poetry collection, Infidelities, Richard Wilbur wrote that the poems “. . . draw upon a dream life which can deeply tincture the waking world.” In her third poetry book, The Nightlife, Paschen once again taps into dream states, creating a narrative which balances between the lived and the imagined life. Probing the tension between “The Elevated” and the “Falls,” she explores troubled love and relationships, the danger of accident and emotional volatility. At the heart of the book is a dream triptych which retells the same encounter from different perspectives, the drama between the narrative described and the sexual tension created there. The Nightlife demonstrates Paschen’s versatility and formal mastery as she experiments with forms such as the pantoum, the villanelle and the tritina, as well as concrete poems and poems in free verse. Throughout this poetry collection, she interweaves lyric and narrative threads, creating a contrapuntal story-line. The book begins with a dive into deep water and ends with an opening into sky.

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An astonishing debut, how to get over is part instruction manual, part prayer, part testimony. It attempts to solve the reader’s problems (by telling them how to get over), while simultaneously creating them—troubling the waters with witness and blues. ford’s poems witness via a series of “past life portraits” that navigate personal space as well as the imagined persona. These portraits conjure the blues via the imagined lives of the inanimate (a whip, a machete), the historic (a Negro burial ground, Harriet Tubman, The Red Summer), the iconic (Pecola Breedlove, Richard Pryor, Rodney King). At the same time, these portraits focus on the past lives of the author and grapple with themes including sexuality, sexual abuse, and substance abuse. The collection’s namesake poems speak to bullying and homophobia, blackness, whiteness and gentrification, and even directly address pop culture icons like Kanye West, Chaka Khan, and Nicky Minaj. Grounded in memory and re-memory, these poems pray in the voice of the ancestors and testify on their behalf. ford’s poems not only remind how the history and legacy of slavery placed African-Americans at an unfair disadvantage, but attempt to illuminate the beautiful struggle of a people’s endurance and resilience. The reader embarks upon a journey through these poems, circa 1787 to 2013, and emerges realizing that everything is connected—the ways we live, lie, love, and die—the ways we all get over.

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Winner of the 2015 Red Hen Press Nonfiction Award, Circadian is a collection of essays that weaves together personal account with cultural narrative, only to unravel them and explore the brilliant and destructive cycles of who we are. Using poetic language and lyric structures, Clammer dives into her stories of trauma, mental illnesses, and a wide spectrum of relationships in order to understand experience through different of frameworks of thought. Whether it’s turning to mathematics to try to solve the problem of an alcoholic father, the history of naming to look at sexism, weather to re-consider trauma, or even grammar as a way to question identity, these “facts” move beyond metaphor, and become new ways to narrate our cyclical ways of being.

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As the Sky Begins to Change is a book of poems to wake the world, lyric anthems for earth and kin. In his third poetry collection from Red Hen Press, Kim Stafford gathers poems that sing with empathy, humor, witness, and story. Poems in this book have been set to music, quoted in the New York Times, posted online in the Academy of American Poets Poem-a-Day series, gathered in a chapbook sold to benefit Ukrainian refugees, posted online in response to Supreme Court decisions, composed for a painter’s gallery opening, and in other ways engaged with a world at war with itself, testifying for the human project hungry for kinship, exiled from bounty, and otherwise thirsting for the oxygen of healing song.

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Meet Oldguy: your regular aging superhero whose powers have dwindled over the years, and whose very mechanics are seriously fizzling. In seriocomic misadventures, Oldguy valiantly attempts to continue his former heroism in a somewhat wry version of Faulknerian endurance, defeating his enemies time and again—if not through superhuman abilities, then at least by “outliving the sons-a-bitches.” With its comic book-style illustrations, Oldguy inhabits a space all to itself—not strictly a poetry collection, not quite a graphic novel—hybrid sure to visually and aurally delight.

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Irrevocably tied to the Carolinas, these stories tell tales of the woebegone, their obsessions with decay, and the haunting ache of the region itself—the land of the dwindling pines, the isolation inherent in the mountains and foothills, and the loneliness of boomtowns. Predominantly working-class women challenge the status quo by rejecting any lingering expectations or romantic notions of Southern femininity. Small businesses are failing. Factories are closing. Money is tight. The threat of violence lingers for women and girls. Through their collective grief, heartache, and unsettling circumstances, many of these characters become feral and hell-bent on survival. Gilstrap’s prose teems with wildness and lyricism, showing the Southern gothic tradition of storytelling is alive and feverishly unwell in the twenty-first century.

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From debut young adult novelist Jade Shyback comes the first in the Aqueous series. On the eve of Earth’s collapse, young Marisol Blaise is taken to live on an underwater mersation known as Aqueous with parents not her own. There, she must compete in the trials, grueling tests designed to evaluate the strengths and weaknesses of each trainee, hoping to be assigned to the all-male elite diving team known as the Cuviers. Desperate to prove to herself, the residents, and all of her parents, dead and alive, that she is worthy of this prestigious placement, she works tirelessly to shatter misogynistic beliefs, only to discover that it was not only the men who constrained her. A much uglier untruth exists.

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A rich medley of broad and deep practical knowledge of the natural world.

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Sex Augury is a collection that practices divination with the symbolism of our radically changed and changeable world. Exercising trans poetics, C. Bain denormalizes the violence embedded in the most intimate strata of American life. Confrontationally queer, urgently wounded, deeply political, and metaphysically transported, these poems create their own system of meaning in an environment that is increasingly hostile to meaning of any kind. This collection spans digital culture, gender reversals, and archetypal-mythic vocabularies, alongside close observation of the surround of “ordinary” urban existence. Sex Augury is a work of dyads, not binaries—concepts bound together which nonetheless refuse to form a coherent, harmonious whole; humor and despair, tenderness and brutality, desire and revulsion. These poems bristle with intelligence, acuity of feeling, and refusal to gloss the complexity of our moment into a false narrative of progress.

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A grieving Hector Peterson and his estranged father Winston Telemacque arrive on the lush island of Dominica in 2017 to spread his mother’s ashes when Hurricane Maria strikes. Amid the devastation, the fragile peace between father and son is tested as long-buried family secrets at the heart of Hector’s identity are unearthed. Hector faces down his failed marriage, shipwrecked career, and his own failures as a father, while Winston, after three decades of striving as an immigrant in Boston, seeks to reclaim the losses from a painful childhood and the bloody betrayal by his one true love. In Island Man, the ruins of past and present are reconciled and shattered generational bonds are restored.

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A Professional Lola is a collection of short stories that blend literary fiction with the surreal to present the contemporary Filipino American experience and its universal themes of love, family, and identity. A family hires an actress to play their beloved grandmother at a party; a couple craving Filipino food rob a panaderya; a coven of Filipino witches cast a spell on their husbands; a Lolo transforms into a Lola. These are just a few of the stories in the collection that represent its roster of stories beautifully grounded in culture and vividly and meticulously painted to make the absurd seem mundane and the commonplace, sinister. A Professional Lola embodies the joy, mystery, humor, sadness, hunger, and family that inhabit modern-day Filipino American virtues.

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All animals struggle to survive. In John Barr's poems the success of the heron hunting, the albatross breeding, the inchworm spinning give proof of life. But for us that struggle includes the eternal presence of war. Does the fall of Rome, the Battle of Shiloh, the Normandy Landings––and today's wars—give proof of life or only of the struggle?

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In her ninth collection of poems, Ghost Apples, Katharine Coles interrogates and celebrates her relationship with the natural world and the various creatures who inhabit it, and in doing so asks what it means to be sentient and mortal on a fragile planet. From her own pet parrot, Henri, to the birds her husband attracts to their feeders, to the wildlife who live just outside—and regularly cross—her property on the wild edge of Salt Lake City, she uses her capacity for intense observation and meditation to think her way into other lives and possible shared futures, both good and bad.

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Francesca Bell’s second collection of poems, What Small Sound, interrogates what it means to be a mother in a country where there are five times as many guns as children; female in a country where a woman is raped every two minutes; and citizen of a world teeming with iniquities and peril. In poems rich in metaphor and music and unflinching in their gaze, Bell offers us an exacting view of the audiologist’s booth and the locked ward as she grapples with the gradual loss of her own hearing and the mental illness spreading its dark wings over her family. This is a book of plentiful sorrows but also of small and sturdy comforts, a book that chronicles the private, lonely life of the body as well as its tender generosities. What Small Sound wrestles with some of the broadest, most complicated issues of our time and also with the most fundamental issue of all: love. How it shelters and anchors us. How it breaks us and, ultimately, how it pieces us back together.

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John Proctor, about to turn seventy, spies a disconsolate young man eyeing him from outside his remote studio window. Invited inside from the bitter cold and fed dinner, the visitor, who calls himself Eli, implies that he is no stranger to the man, having been told by his grandmother that “you might take me in.” Astonished to learn that the woman was his wife who decades earlier had aborted their marriage, which lasted “but the length of a wedding candle,” the narrator ruefully explains he has since relished living alone by making no lasting connections to anybody or anything. Whereupon Eli confides, “She also said you had profaned my mother,” the daughter John Proctor never knew he had. Thus commences MacLeish Sq., a tale of awakened remorse and familial longing recounted by an aging recluse when his life is abruptly upturned by the young visitor—captive to a mythical past of his own creation—who intimates that he and the narrator are unlikely strangers. Their unresolved relationship ultimately challenges the reader to question if he and his coincidental guest are one and the same . . . that Eli may be who the narrator has carefully hidden from himself throughout his adult life.

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A mother abandons her family in California to pursue a miracle cure in Munich. Once she gets there however, she wonders if she might have already died. Bedridden with a terminal diagnosis, memories, nurses, immoral doctors, foreign television broadcasts, and phone calls from children intrude upon her consciousness. An aloe plant called Madame Blavatsky is her primary companion.

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In Epilogue: Selected and Last Poems, Frederick Morgan reworks and amplifies, in his extraordinary poetic range, the fundamental human themes that preoccupied him—love, death, pain, the nature and transcendence of the Self. In interweaving his many themes, he recaptures the past, the confrontation with the external world of nature and the internal world of dream, the oppositions and ambiguities of body and spirit, and the reduplications of meaning in legend and fable. Assembled from eight previous collections, and including his final poems, this profoundly moving book transcends individual expression to provide a powerful insight into universal human experience.

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This anthology brings together one hundred contemporary Indian poets and fiction writers working in English as well as translating from other Indian languages. Located anywhere from Michigan to Mumbai, the sources of their creativity range from the ancient epics to twentieth-century world literature, with themes suggesting a modernist individuality and sense of displacement as well as an ironic, postmodern embracing of multiple disjunctions. The editors present a historical background to the various Englishes apparent in this collection, while also identifying the shared traditions and contexts that hold together their uniquely diverse selection. In aiming at coherence rather than unity, Hasan and Chattarji reveal that the idea of Indianness is as much a means of exploring difference as finding common ground.

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