Search results for ""sarabande books, incorporated""

Lucy / your secret book / that you leaned over and wrote just in the dirt— / Not having to have an ending / Not having to last. . . . And so begins Jean Valentine’s provocative new work, Lucy, a poem that pays homage to the three million-year-old skeleton of the earliest known hominid. With a deep sense of gratitude and profound longing, this poem celebrates the creative power of the female by introducing us to one of our oldest human ancestors. In a dreamlike and often fractured syntax that is vintage Valentine, Lucy, the “wildgood mother” of our species, can once again be heard.

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“From the world that could not be saved, the storyteller salvages small, strange stuff and assembles it into a narrative of alarming beauty and mystery and sadness.”—from the introduction by Carole Maso Southern California: land of dislocation and assimilation, a place Diane Lefer knows well. In California Transit, she uses conversational prose and macabre wit to zero-in on a Mexican woman detained indefinitely by immigration officials, isolating her from her American family; a zoo employee considering what to do with a euthanized antelope’s head; and, in the title novella, a lonely woman, riding buses all day, who cannot avert the violence building within her. This collection explores the difference between justice and law through a lens unfiltered by moralistic or didactic intention. Like a surveillance camera meant to record crime, not stop it, Lefer presents a world gone wrong, not because of people’s hatred for one another but because of their impossible, unfulfilled yearning to connect. Diane Lefer is the author of two previous collections, The Circles I Move In and Very Much Like Desire, and the novel Radiant Hunger. She lives in Los Angeles, where she is an artistic associate of Playwrights’ Arena, volunteers with the Program for Torture Victims, and serves on the animal behavior observation team of the research department at the Los Angeles Zoo. She teaches in the MFA writing program at Vermont College of the Union Institute & University.

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Eleanor Lerman, whose last collection, The Mystery of Meteors (2001), was named by Library Journal as “Best of Poetry, 2001,” returns with a dazzling, funny, and seriously mature new book. In Our Post-Soviet History Unfolds, Lerman boldly wrests contemporary mysticism from a hard-knock New York Jewish consciousness. She’s a solid witness to the 1960s, Cold War, Vietnam, sexual revolution, and drugs. However, in her favor, she’s traveled through baby boomer irony, bought the T-shirt, and found her way back. Eleanor Lerman has been nominated for a National Book Award, received the inaugural Juniper Prize, and was the recipient of a fiction grant from the New York Foundation for the Arts. She is a lifelong New Yorker.

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“When Susan Richards writes about horses and the interactions of the people involved with them, she brilliantly captures the characters, equine and human.”—Maxine Kumin Strong, startling, funny—these stories are rich in their feeling for the human, natural, and sometimes supernatural world of Kentucky. Susan Starr Richards has spent most of her life raising racehorses in central Kentucky, and writing. She has been a NEA Fellow in Fiction. Her stories have appeared in The Kenyon Review, The Sewanee Review, Shenandoah, The Southern Review, and in Thoroughbred Times, as winner of their first National Fiction Prize.

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“Keep watching for Yolanda Barnes and her work. Her voice is her own and will be heard.”—George Garrett Inspired by the Los Angeles riots of 1992, When It Burned to the Ground is an impressionistic vision of inner-city life. This stunning re-rendering of Eden takes place on imaginary Piedmont Street—an avenue of vital contradictions, with a pawnshop and cemetery, prostitutes and preachers, a street with no money in its pockets. Here we meet a variety of women embattled at society’s fringe—Cecile, once a schoolgirl at her history lessons of Pompeii, now a piano teacher down on her luck; Bernadette, seamstress and subject of rumor; an anonymous gardener planting dill as a curative against witchcraft and an amateur botanist studying the bird of paradise, which is both flame and woman’s hat. Throughout this beautifully made montage, recurring images flash into focus and then recede—fire, dusk, the fearsome temper and pleasures of red (lipstick, fig and burning sun). And among them all appears the reluctant street preacher Daniel, a troubling messianic figure bothering Piedmont with warnings of hellfire. As striking as Jean Toomer’s Cane, When It Burned to the Ground is a stark, bold lyric of place and time, an ambitious and innovative fiction. Its stories, sketches and fragments culminate into a haunting book of novelistic breadth and depth, creating a dreamlike and surreal reflection of our own strange world. It is an extraordinary and unique accomplishment. Yolanda Barnes lives in Los Angeles, where she was born of Creole/black Southern heritage. She graduated from the University of Southern California, where she majored in journalism, and received her MFA from the University of Virginia. Her short fiction has appeared in TriQuarterly, Ploughshares and the O. Henry and Pushcart Prize collections.

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Winner of the 2000 Mary McCarthy Prize in Short Fiction Welcome to the strange, wonderful world of Brock Clarke. Here you will meet florists, dental hygienists, high school teachers, and peddlers of porno novelty items, all trying to be normal, good people and failing miserably. Reaffirming that "life, at its core, is embarrassing," What We Won't Do is a collection of tales about the miseries of the average, blue-collar worker who is anything but average. Here is a portrait of the Homer Simpsons and Archie Bunkers of the world, Knut Hamson style. These stories are more than insightful; they're downright funny. "The honesty herein is not the sugarcoated sort, it's the sort that exacts revenge by goading others into doing what we can't or won't do ourselves. . . . You haven't read these stories before, and that's the highest compliment that I can pay them. That and the fact that they made me laugh, out loud, and frightened me a little, and still do."—from the Foreword by Mark Richard Marketing plans for What We Won't Do: • Author tour in South Carolina (Clemson, Greenville), and upstate New York (Syracuse, Rochester). • Will coordinate additional tour with Harcourt upon release of his novel, The Ordinary White Boy, in September 2001. • Newsletter, brochure, catalog, and postcard mailings. • Advertisements in key literary and trade magazines. Brock Clarke is from upstate New York. He received his Ph.D. in English at the University of Rochester, and is currently an assistant professor of English and Creative Writing at Clemson University. He has received awards from the Sewanee Writers' Conference, Bread Loaf Writers' Conference, and the New York State Writers' Institute. He lives with his wife, Lane, and their son Quinn in Clemson, South Carolina.

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Winner of the 2001 Mary McCarthy Prize in Short Fiction "This novel’s poignancy, I think, comes from the paradoxical confrontation between innocence and experience these Asian strivers are caught in—at the same time that they are rendered childlike by ignorance of their new culture, we know they have been singed and seared, and therefore secretly toughened. Immigration is such a significant phenomenon right now that this tension between competency and confusion, maturity and infantilization is an enormously fecund subject for a novelist with a well-developed sense of irony."—From the Foreword by Rosellen Brown In an essay written for his ESL class, a young student describes his flight from Vietnam at the age of 12, in a fishing boat with three friends. They were beaten by Thai pirates, fell faint with hunger and pain, until they were "pushed to the kind shore by a finger of God." The phrase evokes an overriding metaphor for this resonant first novel by Kate Gadbow, in which a community of Vietnamese and Hmong refugees struggles to maintain balance between the world they fled and the one they are currently negotiating in Missoula, Montana. Gadbow meshes the lives of these refugees with that of the book’s narrator Janet Hunter, a teacher struggling to manage contemporary life, with a failed marriage and a string of disappointments haunting her own past. In a deceptively simple prose style that reads like easy conversation, and with an admirable lack of sentimentality, Kate Gadbow has written a remarkable novel depicting the clash of cultures and the difficult realities inherent to a world given only to constant change, where the harbor of a kind shore seems frustratingly out of reach. Kate Gadbow directs the Creative Writing Program and teaches undergraduate fiction classes at the University of Montana in Missoula, where she lives with her husband, journalist Daryl Gadbow.

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Bad Judgment is Cathleen Calbert's second collection of poems. Calbert offers feminist fables appropriate to the millennium: tales of when the world lost meaning, of falling in love in an age of indeterminacy. Her sense of comic absurdity is uncanny: in one poem, the speaker attends a costume party as a dead debutante; in another, facile positivism is shredded by satire.In poems that balance realistic and surrealistic narratives, irony and sentiment, Calbert records the journey of a woman reeling from a number of losses-her youth, the death of a close friend, religious faith-toward love and marriage. These poems speak directly of and from the self, and in so doing echo Whitman's conversational grace. Calbert writes an updated feminist song of herself, a song that celebrates the pleasure of being the modern "woman as wild card, as other/than wife, mother, lover, friend," the woman who delights in forging herself with wit and wisdom.The title poem, "Bad Judgment," shows how the little lies we tell ourselves and others can create lives of bad faith, and as much as she would like to be consoled for her losses, reassured about the permanence of her recompenses, Calbert does not seek the easy balm of dogma. Instead of grace or God, per se, she suggests, we have perspective. And Calbert shows that we are blessed, in our quest for simplifying principles, to discover the exceptional.Cathleen Calbert is the author of one previous collection of poetry, Lessons in Space, published by the University Press of Florida in 1997. She was a recipient of The Nation Discovery Prize in 1991, the Gordon Barber Memorial Award of The Poetry Society of America in 1994, and a writing fellowship from The Rhode Island State Council for the Arts in 1995. Her poems have appeared in The Best American Poetry 1995, Feminist Studies, The Hudson Review, The Paris Review, Ploughshares, Poetry Northwest, TriQuarterly, and elsewhere. She lives in Providence, Rhode Island, where she is an Associate Professor at Rhode Island College."Between 'Don't try anything!' and 'She'll try anything!' fall (or rise: depending on her mood) Cathy Calbert's startling new poems, so cool, so speculative, so disabused, so warm. Our colloquial

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Baron Wormser, a master of the persona poem, is well known for his empathic exploration of possible lives. This fifth collection of poetry by this "fiction writer in a poet's body," includes an examination of his own life as well.Mulroney & Others provides glimpses of Wormser's childhood, adolescence, and adulthood, as well as accounts of Vietnam vets and draft dodgers, socialites and outcasts. Loyal readers will welcome his trademark poise, the elegant balance he achieves with understatement both metrically deft and intellectually intricate. These poems prove Anaïs Nin's insight that "We don't see things as they are, we see them as we are."Wormser's invitation to engage ourselves in seeing is irresistible, especially as he models the process with such impassioned interest. "'I know,' everyone is saying at once/To one another and the word-riddled universe. . . ." he writes. His poems tempt us to trade the obscurity of facile assumption for the powerful illumination of wonder. In Wormser's words, the universe is irrefutably personal.Baron Wormser is the author of four previous collections of poetry: The White Words (Houghton Mifflin, 1983), Good Trembling (Houghton Mifflin, 1985), Atoms, Soul Music, and Other Poems (Paris Review Editions, 1989), When (Sarabande Books, 1997), and co-author of Teaching the Art of Poetry: The Moves (Lawrence Erlbaum Associates, 1999). His poems, essays, and reviews have appeared in a wide variety of journals including The Paris Review, Sewanee Review, The New Republic, Harper's, and Poetry. He has received fellowships from the National Endowment for the Arts and the John Guggenheim Memorial Foundation. He lives with his wife in Hallowell, Maine."The particular gift in Wormser's work is in the narrative. . . . He is poised to record, to expose, to express, not to pounce. The language can sometimes ambush a reader with wonder, but Wormser never breaks a sweat. . . . Mulroney & Others is one of those rare books of poetry that will have resonance in the lives of nearly every reader. . . (he) mixes just the right amount of cleverness with a smart appreciation for language, humor, humanity, pain and love."-Ba

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"Sharon Bryan's third collection reveals a clever, ironically detached curiosity about how human beings mediate experience through language. Whatever personal emotions underlie these witty, deftly-crafted poems are transcended by Byran's rationalism and her focus on how we have 'invented words to keep the world / just out of reach.'--Poetry "Reading [the poems of Flying Blind] is like watching a trapeze artist suspended between one flying bar and another, framed by the essential element of air. I found myself laughing, delighting in Sharon Bryan's original turn of mind, spinning on her surface wit. And I found myself saddened by a generalized sense of loss that incorporates my own. At the deepest level, Sharon Bryan's terrain resides in each of us."-The Georgia Review "The finely crafted, intelligent poems in Bryan's third collection concern the relationships or perceived relationships between life and death, the living and the dead, and, more urgently, our struggles to communicate on the subject. . . . These poems require bravery, compassion, and patience, for they are difficult, painful, and not always self-disclosing. Their deeply personal literary and spiritual drama is at times prayerful, at times macabre, and at times almost celebratory."-poetry calendar Flying Blind is Sharon Bryan's third collection of poems. The first two, Salt Air and Objects of Affection, were published by Wesleyan University Press. She is also the editor of Where We Stand: Women Poets on Literary Tradition (Norton, 1993). Her awards include an Academy of American Poets Prize, the Discovery Award from The Nation, and two fellowships in poetry from the National Endowment for the Arts.

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Louisa Ermelino's stories follow women living dangerously at home and abroad, whether in Italian-American neighborhoods or in the countries—India, Turkey, Afghanistan—where they seek escape. At home, they break ancient Italian taboos and fall victim to mobsters. Overseas, they smoke opium-laced hashish and sleep with strange men. Ermelino's voice is boisterous and endearingly blunt.“There is lyricism in the language of Ms. Ermelino’s splendid collection that lulls us, line after seductive line, from the mundane to the menacing. Malafemmena is the work of a bold and original writer.”—Gay Talese "Written with generosity, curiosity, and a great deal of sharp wit.... Will speak to anyone who's found themselves gloriously stranded in a foreign land...or bemused by the strange rituals of their own tribe."—Hanya Yanagihara“What Louisa Ermelino knows about the heart could fill a book and has. The unadorned authenticity of her prose is so powerful, it gave me whiplash. I read Malafemmena in one sitting and wanted more, more, more. The writer's a genius, or an alchemist, or maybe both.”—Patricia Volk, author of Stuffed and Shocked“Louisa Ermelino is a gorgeous writer and master storyteller. Imagine a cross between Maugham and The Sopranos. She captures the madness, comedy, violence, and superstition of domestic life in NYC’s Little Italy, but also takes us all over the world—Jakarta, India, Turkey—where her characters stumble in and out of heartbreak and trouble. This book is irresistible. I loved it.”—Delia Ephron Louisa Ermelino is the author of three previous novels: Joey Dee Gets Wise (Kensington, 2004), The Black Madonna (Simon & Schuster, reprint, 2013), and The Sisters Mallone (Simon & Schuster, reprint, 2013). She is Vice President and Reviews Director at Publishers Weekly in New York City.

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A brand new collection from multi-award winning poet Corey Van Landingham. Reader, I draws its title from the conclusion to Charlotte Brontë’s Jane Eyre: “Reader, I married him.” Spanning the first years of a marriage, the speaker in Reader, I both courts and eschews nuptial myths, as its speaker—tender and callous, skeptical and hopeful, daughter and lover—finds a role for herself in marriage, in history, in something beyond the self. While these poems burn with a Plathian fire, they also address and invite in a reader who is, as in Jane Eyre, a confidant. Steeped in a world of husbands and fathers, patriarchal nations and power structures, Reader, I traverses bowling alleys and hospital rooms, ancient Troy and public swimming pools, to envision domestic life as a metaphor for civic life, and vice versa.

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"Petrosino is a canny, wide-ranging and formally nimble writer with a magician's command of atmosphere."—The New York Times, "The Best Poetry of 2017"Witch Wife is back in a brand new paperback edition, featuring a reader’s guide and writing prompts from the poet herself.The poems of Witch Wife are spells, obsessive incantations to exorcise or celebrate memory, to mourn the beloved dead, to conjure children or keep them at bay, to faithfully inhabit one’s given body. In sestinas, villanelles, hallucinogenic prose poems and free verse, Kiki Petrosino summons history’s ghosts—the ancestors that reside in her blood and craft—and sings them to life.

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Loss and rediscovery occupy the heart of this adventurous collection. The characters in Eternal Night at the Nature Museum find refuge in strange, repurposed spaces: a middle-aged addict emcees a demolition derby, which transforms into a hostel, then a cult; a church congregates in an abandoned Hardee's; octogenarians escape their nursing home; unsupervised children sell knives to the neighborhood. In a contemporary America blemished with loneliness and late-capitalism, there is no end to the fractured places in which these characters find ‘home.’ In twenty vivid, rowdy, buoyant stories—ranging from one-page flashes to thirty-page odysseys—Barton assembles a collection of unforgettable safe havens perfect for crashing, even if only for a night.

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In Love Drones, Noam Dorr explores the troubling relationship between our desire for intimacy and the world of military action, state violence, and intelligence surveillance. Born and raised on a kibbutz in Israel, Dorr served a compulsory military term as an intelligence analyst, tapped for his skill with translation. This is reflected in the book with form-bending interwoven essays that retrace the fragments of a bomb that never explodes, grenades concealed as oranges, and drones that are simultaneously sound, insect, and lethal aircraft—essays searching for human connection within a landscape of violent conflict. It is a deeply intimate and unsettling book.

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"T Fleischmann's Syzygy, Beauty shimmers with confidence as it tours the surreal chaos of gender, art, and desire. Its declarative sentences—seductive, abject, caustic, moving, informative, and utterly inventive—herald a new world, one in which we are blessedly 'here with outfits like strings of light and no future.' I hail its weirdness, its 'armpit frankess,' its indelible portrait of occulted relation, and above all, its impeccable music."—Maggie Nelson Construction becomes quiet, the saw buzz and the bang little white wisps that stop at my edges. We'll get used to most anything, at least enough to keep going. The will of the wisp. I want to poke a hole in my words so that people notice you are not here. Comfortable divots you could fill some day, if you wanted to. My mother sighs, my friends sigh. "You're so sad," they say. I'm not, I'm really not. I'm just trying to breathe fully. The shadow of the mountain turns with the day, encroaching. When it settles on me I put the hammer down and walk to where it is still warm. In Syzygy, Beauty, T Fleischmann builds an essay of prose blocks, weaving together observations on art, the narrator's construction of a house, and a direct address to a lover. Playing with scale and repetition, we are kept off-center, and therefore always looking, as the speaker leads us through an intimate relationship that is complicated and deepened by multiple partners, gender transitions, and itinerancy.

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"The tone may vary from one essay to another, but more than anything else, these are love stories, not rose-colored romances, but love that includes doubt, violence, wrestling with angels, and devils."—From the Introduction CONTRIBUTORS: Eavan Boland Madeline DeFrees Stephen Dunn Reginald Gibbons Edward Hirsch Maxine Kumin J.D. McClatchy Carl Phillips Stanley Plumly Mary Ruefle Adam Zagajewski and many others!

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Readers familiar with Lia Purpura’s highly praised essay collections—Increase, On Looking, and Rough Likeness—will know she’s a master of observation, a writer obsessed with the interplay between humans and the things they see. The subject matter of All the Fierce Tethers is wonderfully varied, both low (muskrats, slugs, a stained quilt in a motel room) and lofty (shadows, prayer, the idea of beauty). In “Treatise Against Irony,” she counters this all-too modern affliction with ferocious optimism and intelligence: “The opposite of irony is nakedness.” In “My Eagles,” our nation’s symbol is viewed from all angles—nesting, flying, politicized, preserved. The essay in itself could be a small anthology. And, in a fresh move, Purpura turns to her own, racially divided Baltimore neighborhood, where a blood stain appears on a street separating East (with its Value Village) and West (with its community garden). Finalist for the National Book Critics Award, winner of the Pushcart Prize, Lia Purpura returns with a collection both sustaining and challenging.

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Sinuous and sensual, the poems of In Full Velvet interrogate the nuances of desire, love, gender, ecology, LGBTQ lineage and community, and the tension between a body’s material limits and the forms made possible by the imagination. Characterized by formal poise, vulnerability, and compassion, Johnson's debut collection is one of resounding generosity and grace.Jenny Johnson is a recipient of the 2015 Whiting Writers' Award, and the 2016 Hodder Fellowship at Princeton. She lives in Pittsburgh, Pennsylvania.

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Set in the author's homeland of West Virginia, this panoramic collection of stories traces the people and animals who live in precarious balance in the mountains of Appalachia over a span of two hundred years, in a disappearing rural world. With omniscient narration, rich detail, and lyrical prose, Matthew Neill Null brings his landscape and characters vividly to life."Allegheny Front has few sentimental trappings. . . . Men's stubbornness is a rock face, in these intelligent and unpretentious stories, their anger a crown fire, their occasional tenderness a rill. . . . It remains at a distance from judgment, at a remove from easy definitions, unspooling a lucid and often painful history of appetite, exploitation, and bereavement."—Lydia Millet, from the introduction"Rich in history, speech, incident, flora, fauna, vernacular, geology, politics—Matthew Neill Null's work is dazzling. . . . If anything ever happened in the state of West Virginia, Null knows the long and short of it, and will make its story sing."—Salvatore ScibonaMatthew Neill Null is the author of the novel Honey from the Lion (Lookout Books). A graduate of the Iowa Writers' Workshop, winner of the PEN/O. Henry Award and the Joseph Brodsky Rome Prize from the American Academy of Arts and Letters, his short fiction has appeared in the Oxford American, Ploughshares, the Mississippi Review, American Short Fiction, Ecotone, and elsewhere. He divides his time between West Virginia and Provincetown, Massachusetts, where he coordinates the writing fellowship at the Fine Arts Work Center.

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"The poems in Antiquity very much abandon themselves to language, to the collective poetic endeavor, and they do so in a rich, textured, and sustained voice."—Mary Ruefle, from the introduction Winner of the Kathryn A. Morton Prize, Michael Homolka’s Antiquity offers the present infused with the past, from Ancient Greece to the Holocaust to contemporary battlefields. A haunting and evocative debut. Michael Homolka lives and works in New York City. Homolka’s poems have appeared in the New Yorker, Ploughshares, the Threepenny Review, and elsewhere.

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A Pulitzer Prize-winning author details an unconsummated love affair that sustains political, philosophical, and sexual interest over a lifetime. The truth is always different from what anyone says out loud, but who really cares? Not I, said the man I chose to be, nor I nor I nor I— among the many of us she left teetering. Stephen Dunn is a Pulitzer Prize winner and the author of seventeen collections of poetry, most recently Lines of Defense, Here and Now, and What Goes On: Selected & New Poems: 1995-2009. He teaches at Richard Stockton College of New Jersey.

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That art should once have been markedwith this delicacy: always only oneof each thing made, so that your poemhas its one life on the sheetyou have chosen for it, or the snapshotof the birthday party, everythingin the room upended by the children'sjubilation, survives onlyin the single defended piece of glass.Rick Barot was born in the Philippines, and received his MFA from the Iowa Writers' Workshop. He is the author of The Darker Fall and Want and teaches at the MFA Program for Writers at Warren Wilson College.

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"David Martinez is like an algebra problem invented by America—he's polynomial, and fractioned, full of identity variables and unsolved narrative coefficients. . . . Hustle is full of dashing nerve, linguistic flair, and unfakeable heart."—Tony HoaglandThe dark peoples with things:for keys, coins, pencilsand pens our pockets grieve.No street lights or signs,no liquor stores or bars,only a lighter for a flashlight,and the same-faced trees,similar-armed stonesand crooked bushesstaring back at me.There is no path in the woods for a boy from the city.I would have set fire to get off this wildernessbut Palomar is no El Camino in an empty lot,the plastic dripping from the dashand the paint bubbling like a toad's throat.If mountains were old pieces of furniture,I would have lit the fabric and danced.If mountains were abandoned crack houses,I would have opened their meanings with flame,if that would have let the wind and trees lead my eyesor shown me the moon's tiptoe on the moss—as you effect my hand,as we walk into the side of a Sunday night.David Tomas Martinez has published in San Diego Writer's Ink, Charlotte Journal, Poetry International, and has been featured in Border Voices. A PhD candidate at the University of Houston, Martinez is also an editor for Gulf Coast.

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In the middle of the night, when the fruit is scariest. I hold my hand out and feel your nibbling. Don't worry, my eyes are still closed. I've only peeked that once. The cold that is your breath—these windows of fog. If I were outside, I'd read your name backward again and again. Trey Moody is from San Antonio, Texas. He earned an MFA from Texas State University and a PhD from the University of Nebraska. He is the author of the chapbook How We Remake the World, co-written with Joshua Ware, and winner of the Slope Editions Chapbook Prize.

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"Nostalgic" Jar of feathers becoming, finally, another map: cloistered homage to a decade of geese haunting the grid of our steadfastness. Un-find the coveted ibis; kiss the scarlet of the robin's blurred departure. In the end, we were landmark, compass, same as the lingered-over pond, the marsh where cattails remained when all else left. Ragged in salt, cloud-headed. Paula Bohince's poems have appeared in The New Yorker, The Nation, and Poetry. She has received fellowships from the National Endowment for the Arts, the Amy Clampitt Trust, and the Bread Loaf Writers' Conference, and an Amy Lowell Poetry Travelling Scholarship.

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Best Books of 2011, San Francisco ChronicleThe Millions' A Year in Reading pickEleven women confront dramas both every-day and outlandish in Caitlin Horrocks’ This Is Not Your City. In stories as darkly comic as they are unflinching, people isolated by geography, emotion, or circumstance cut imperfect paths to peace—they have no other choice. A Russian mail-order bride in Finland is rendered silent by her dislocation and loss of language; the mother of a severely disabled boy writes him postcards he'll never read on a cruise ship held hostage by pirates; and an Iowa actuary wanders among the reincarnations of those she's known in her 127 lives. Horrocks’ women find no simple escapes, and their acts of faith and acts of imagination in making do are as shrewd as they are surprising.

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“Fort Red Border—the title itself an anagram for the name of this remarkable collection’s imaginary beloved—shows how language can be pleated, unfolded, and creased all over again into an endless origami of Eros. . . . By turns clowning, worshipful, heartbroken, and Faulknerian, these lyrics transport the reader to a familiar place made utterly strange.”—Srikanth Reddy Kiki Petrosino has audacity to spare. She devotes the entire first section of her debut collection of poems to a putative affair the speaker is conducting with an imaginary Robert Redford. In the poems, Redford is solicitous of the speaker, as well as curious about her “difference,” probing her about the various meanings of “natural” when applied to her African-American hair. The poems’ hilarity and poignancy issue from the speaker’s distance from, and yearning toward, the center of mainstream culture. Redford serves as ideal partner, the embodiment of American masculinity––but there is also an odd tenderness and actuality to the relationship. In these poems Petrosino is fearless, proceeding from the recognizable terrain of daily life’s emotions rather than seeking refuge in the cool of mere obscurity. Petrosino’s poems scout a new path, one that discovers a believably fierce, vivid, feeling self. Kiki Petrosino is the author of Fort Red Border (Sarabande, 2009) and Hymn For The Black Terrific (Sarabande, 2013), and the co-editor of Transom, an independent on-line poetry journal. She holds graduate degrees from the University of Chicago and the Iowa Writer's Workshop. Her poems have appeared in Tin House, FENCE, Jubilat, Gulf Coast, and The New York Times. Petrosino teaches creative writing at the University of Louisville.

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The Motel of the Stars is a novel set in Kentucky and North Carolina on the eve of the 1997 anniversary of the Harmonic Convergence, a mystical alignment of planets and a portending of universal peace first celebrated in 1987. Part satire of New Age philosophy and part commentary on a modern, fear-based era, the novel is the story of Jason Sanderson and Lory Llewellyn, who travel to the 1997 Anniversary Gathering at the foot of Grandfather Mountain in North Carolina. Both characters have for ten years mourned the loss of Sam Sanderson, Jason’s son and Lory’s lover, and both must emerge from grief into a new age of possibility and hope. Karen Salyer McElmurray is the author of Surrendered Child: A Birth Mother’s Journey, described by The Atlanta Journal-Constitution as “a moving meditation on loss and memory and the rendering of truth and story.” The book was the recipient of the 2003 AWP Award for Creative Nonfiction and a National Book Critics Circle Notable Book. McElmurray’s debut novel, Strange Birds in the Tree of Heaven, was winner of the 2001 Thomas and Lillie D. Chaffin Award for Appalachian Writing. Her work has received support from the National Endowment for the Arts, the Kentucky Foundation for Women, and the North Carolina Arts Council. She lives in Milledgeville, Georgia, where she is an assistant professor in creative writing at Georgia College and State University; she is also the creative nonfiction editor for Arts and Letters.

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“Fragment of the Head of a Queen makes it clear why Cate Marvin is becoming one of our essential poets.”—Rodney Jones Cate Marvin’s new poems, their wrought music, unblinking focus, and hard-edged sensuality, are wreathed with an entirely different silence than her first collection. The brokenness and loss of the fragmented queen—seeming to rise up through centuries—is their tutelary spirit. Cate Marvin is the author of World’s Tallest Disaster, awarded the 2000 Kathryn A. Morton Prize by Robert Pinsky and the Kate Tufts Discovery Award (2002). She teaches creative writing in Staten Island, New York.

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“Ah to be the one for whom the love poems in this sexy, brainy, elegant book were written.”—Linda Gregerson The Coronary Garden is a collection braiding love and mortality. In “Love Poem, Unwritten,” Townsend identifies a physical abnormality of the poet’s heart as a figure for human love: fragile, vulnerable, our very imperfections opening us to connection and grace. Ann Townsend is the author of Dime Store Erotics (1998). She lives in Granville, Ohio.

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“Singer of stories, lyric raconteur, Sydney Lea has evolved—through a long, rich career—into one of America’s most harrowing and honest poets. Ghost Pain is his most eloquent and wrenching book.”—T.R. Hummer “Ghost Pain is a remarkable book, which takes his work to a new level.”—Stephen Dunn The eighth poetry collection by the founder of New England Review explores addiction, alcoholism, violence and the uses and inadequacies of art.

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“Cleopatra Mathis . . . brandishes the gifts of a talented poet who has hit her stride.”—The New York Times Book Review “As long as we have Mathis’ clarity of imagination, the intricacy and breadth of her engagement with the world and the depth of her meeting of others, we’ll have the warmth to help us deal with our own centers of cold.”—A.R. Ammons Strong, unsentimentally emotional sixth collection set on the frigid shores of Provincetown.

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This collection leaps into the dangerous currents where poetry and reli-gion meet, and enlivens the lexicon of traditional American Christian belief by testing its doctrines and language against contemporary experience. "Beyond the wonderful music of his lines . . . , what makes To the Green Man such an important and memor-able book is its enactment of a spiritual struggle to be at once at home in the world and astonished by it."—Alan Shapiro Mark Jarman is a professor of English at Vanderbilt University in Nashville. His book The Black Riviera won the Poets’ Prize, and Questions for Ecclesiastes was a finalist for the National Book Critics Circle Award and won the Lenore Marshall Poetry Prize.

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In her first collection of essays, Molly McQuade performs the role of the ideal reader-passionately interested in ideas and irrepressibly ambivalent. She considers poetry from its composition or translation to its publication, critical reception, and consumption. Her close readings of poems by Emily Dickinson and John Ashbery, among others, offer new insights for those readers blinded by familiarity. She reflects on the consequences of literary friendships, such as Marianne Moore and Elizabeth Bishop's, and contends with hostile influences and their benefits-in her own case, confronting and absorbing the work of E.B. White.But McQuade refuses to stay within the lines that describe poetry per se. Her thoughts on the genre are also enriched by discussions of distinctly nonverbal poetic expression in painting and film, theater and dance. McQuade invigorates prosody's perennial questions-form and function, fashion and faction-and addresses the importance of humor as an elixir for thinking. She dares to define the subject of poetry itself as pleasure. "Poetry," she ventures, "doesn't need to be literary."In every instance, these essays feature a fine mind's play on the page as well as McQuade's characteristic expertise: an awareness that is at once historically informed and hip. If metaphor itself expands the mind's capacity for contrary ideas, then McQuade is a metaphor made manifest. Among writers on writing, here is a writer who is utterly and remarkably unlike any other.Molly McQuade's essays and criticism have appeared in The Village Voice, Hungry Mind Review, New England Review, Boston Review, Newsday, the Chicago Tribune, and elsewhere. She has served as editor of the monthly Poetry Calendar magazine and previously founded and edited the poetry review column of Publishers Weekly. Her writing has received fellowships and awards from the New York Foundation for the Arts, the Pew Charitable Trusts, the National Council of Teachers of English, and the Illinois Arts Council. Her first book, An Unsentimental Education, a collection of biographical portraits of writers, was published in 1995 by the University of Chicago Press. Her poetry, nominated twice for a Pushcart Prize, ha

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In Curios, her first collection of poetry, Judith Taylor emerges as the speediest meditative poet since Emily Dickinson. Her poems set off for all the worthy old ontological destinations, but what new routes they discover! Taylor can cover more ground in eight lines than most poets manage in eighty. But her rapid transit is accomplished without loss of density or emotional resonance.Taylor's love of literary tales is deeply embedded in-and extended by-her poems. References to Wilde, Rilke, Shakespeare, Chekhov, Flaubert, Tolstoy, Charlotte Brontë, and Lady Murasaki are rife, as are characters from fairy tales and children's stories. Even familial figures take on archetypal roles, lending the speaker's personal memory a mythic significance. The most pronounced motifs in Curios suggest a world enriched by fantasy: ghosts, fans, screens, masks, silk, windows, dreams, and curtains. But Taylor makes apparent that her imagination has bloomed not only to augment but to accommodate the world's multifariousness: I wanted everything connected to everything in a logical universe. / . . . In time, the world begins to shape your stubborn mind. ("She's Got Mail")This debut collection is remarkable not only for its consistent style but also because it showcases a new form of poem-her own invention-a "curio" in itself. In extended lines, usually seven to eight, Taylor delivers deadpan statements and poses questions that are startlingly provocative-more like koans than interrogatives. Her poems range widely and wildly, at times taking surrealistic turns, yet they always maintain contact with the earth. It is a bonus to the reader that Taylor's grounding wire is humor. Even as the poems astonish by their swiftness, daring, and the accuracy of their surprising connections, they make us laugh: Do the stars hiss when they slash across the sky, cooling down? / Get a grip on yourself, said Mother often. ("Excess")The volume's title, Curios, is remarkably apt. With unexpected images and questions reminiscent of childhood, Taylor riddles the surface of perception. These poems prove that curiosity-and imagination-will get the best of us. This title received a grant from the Greenwall Fund of The Academy of Ameri

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Sarah Gorham is the author of two collections of poetry, Don't Go Back to Sleep (Galileo Press, 1989) and The Tension Zone (FourWay Books, 1996). Her work has appeared widely in such places as The Nation, Antaeus, Poetry, The Kenyon Review, Grand Street, The Missouri Review, The Georgia Review, The Southern Review, and Poetry Northwest, where in 1990 she won the Carolyn Kizer Award. She has received grants from the Kentucky State Arts Council, the Kentucky Foundation for Women, the Delaware State Arts Council, and the Connecticut Commission on the Arts, She is Editor-in-Chief and President of Sarabande Books, Inc.Jeffrey Skinner has published three collections of poetry, Late Stars (Weslyan University Press, 1985), A Guide to Forgetting (Graywolf Press, 1988) and The Company of Heaven (University of Pittsburgh Press, 1992). His work has appeared in numerous literary magazines including The Atlantic, The New Yorker, The Nation, The Georgia Review, and Poetry. He has been awarded grants from the National Endowment for the Arts, the Ingram Merrill Foundation, the Howard Foundation, and several state arts councils. He is also a playwright, and two of his plays were finalists in the Eugene O'Neil Theater Conference competition. He is currently Director of Creative Writing and Professor of English at the University of Louisville.

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Shirley Temple tap dancing at the Kiwanis Club, Stevie Nicks glaring at Lindsey Buckingham during a live version of “Silver Springs,” Frank Ocean lyrics staking new territory on the page: this is a taste of the cultural landscape sampled in Your New Feeling is the Artifact of a Bygone Era. Chad Bennett casually combines icons of the way we live now—GIFs, smartphones, YouTube—with a classical lover’s lament. The result is certainly a deeply personal account of loss, but more critically, a dismantling of an American history of queerness. “This is our sorrow. Once it seemed theirs, but now it’s ours. They still inhabit it, yet we say it’s ours.” All at once cerebral, physical, personal, and communal, Your New Feeling Is the Artifact of a Bygone Era constructs a future worth celebrating.

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Winner of the 2022 Kathryn A. Morton Prize in Poetry, selected by Terrance Hayes. The debut collection from Simon Shieh, Master is a stark, surreal, and imagistic reckoning with a traumatic past. Master follows the speaker's struggle with masculinity from a martial arts school in upstate New York to a boxing academy in Beijing. Language emerges in this collection not as a neutral witness to a boy’s subjugation, but as the very tool of hegemony, though one which also holds the key to its own undoing, and therefore to freedom. As much as Master is the story of pain, it is also a journey to healing, illuminating that while violence can be our patrimony, it does not have to be our destiny.

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"Curious, lonely, mournful, haunted, and strangely funny."—Leslie Jamison, author of the NYT bestseller The Empathy Exams In her extraordinary graphic novel—which masterfully incorporates poetry and elements of memoir—Lauren Haldeman layers the warfare of soccer over the battlefields now called Bull Run Regional Park, where, growing up, her soccer team would practice and compete. The park and surrounding town of Fairfax Station Virginia set the landscape for the book, where the narrator regularly encounters spectral visions of wounded soldiers and very real artifacts of war— “wounded wraiths and faceless shapes” float in her hallway at night, and bullet shells, buttons, and human bones surface around the soccer fields in daylight. The narrator turns to poetry and history to make sense of the town and its bloodshed, of its forever attachment to injustice and its inability to restore erased identities. Team Photograph is a journey from research to illumination, and the result is a tender yet powerful reckoning of time and place, proof that the past and the present are inexorably fused together.

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Kirkus Reviews, "Best Fiction Books of the Year"Kirkus Reviews, "20 Best Books to Read in January"Kirkus Reviews, "Yes, You Can Read Short Stories in Shuffle Mode"Book Riot, "15 Excellent 2023 Short Story Collections by Asian Authors"Liberty Hardy, "Favorite Books of 2023"Electric Literature, "Recommended Reading”Storizen, "9 Short Story Collections by Asian Authors in 2023" by Saurabh ChawlaTexas Monthly, "The Best Books, Film, TV, Art & More Coming to Texas This Winter"Winner of the 2021 Mary McCarthy Prize in Short Fiction“The stories in A New Race of Men from Heaven move elegantly between the ache of loneliness and the grace of connection, however fleeting.” —Danielle Evans, author of The Office of Historical CorrectionsA New Race of Men from Heaven is a collection of stories about characters who wander but are never truly lost. A lonely man on a business trip finds himself in the middle of a search party for a missing boy; a grieving widow leaves India to join family in the United States; a writer finds renewed success when an unknown imposter begins publishing under his identity. In these quiet yet deeply knowing stories of migration, power, and longing, A New Race of Men from Heaven offers us, above all else, stories of enduring love and hope.

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At the center of this stellar collection are three sisters and their imaginative fear of grief. Their great-uncle was bitten by a shark, their mother has a brain tumor, their neighbor hangs himself from a tree—and to cope with these very real terrors, the oldest sister creates an intimate fantasy world. We hear stories of a mountain lion that slaughters a deer, a transparent body washed up on a beach, a selkie who ventures to shore and becomes their mother: “On land her pelt was heavy / like stewed velvet, so she taught herself / to take it off.” The sisters’ environment of ocean and sand, forests and farmhouses, forms a lush backdrop to many of these poems. But later, as the speaker ages, we find ourselves in the mountains, in an art museum, in a spacecraft where a recorded voice “has the soft accent of someone only a generation or two removed from Earth.” The voice in these poems is the perfect mix of grief and imagination, quiet and explosion. Stay Safe is delicate and extraordinary, a powerful debut.

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"Must-Read Poetry: October 2019" by Nick Ripatrazone, The Millions “Best Books of 2019,” Book Riot This astonishing, self-assured debut leads us on an exploration to the stars and back, begging us to reconsider our boundaries of self, time, space, and knowledge. The speaker writes, “…the universe/is an arrow/without end/and it asks only one question;/How dare you?” Zig-zagging through the realms of nature, science, and religion, one finds St. Francis sighing in the corner of a studio apartment, tides that are caused by millions of oysters “gasping in unison,” an ark filled with women in its stables, and prayers that reach God fastest by balloon. There’s pathos: “When my new lover tells me I’m correct to love him, I/realize the sound isn’t metal at all. It’s not the coins rattling/ on concrete, but the fingers scraping to pick them up.” And humor, too: “…even the sun’s been sighing Not you again/when it sees me.” After reading this far-reaching, inventive collection, we too are startled, space struck, our pockets gloriously “filled with space dust.” "Online, month by month, I watched it happen: a new genre of poem was emerging, but I had no clue who was responsible. These brainy poems didn't wait to spout off trivia, historical and scientific—'Pavlov Was the Son of a Priest' (a characteristically quotable title) recalls that 'the moon smells like spent gunpowder,' then divulges some smoldering self-knowledge: 'I'm sorry/I couldn't hide my joy when you said lonely.' . . . [T]hese poems were fluent in funniness, retweetably jokey: 'I'm//the vice president of panic, and the president is/missing.' But once the play subsided, you found yourself moved—unaccountably, almost, until you discovered, reading back up the poem, that even the zaniest elements had several parts to play. What looked like a genre, I soon realized, was all the handiwork of one poet. Their name is Paige Lewis. . . . Don't doubt them."-—Christopher Spaide, Poetry

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“[Baron] Wormser is a beautiful writer of the meditative-narrative poem in the compassionate and lucid style of Frost, Hayden Carruth, and Donald Hall. Like those writers, his poems dignify rural lives, but also explore the national soul with particularly American integrity and frankness. Conversational, civilizing, thoughtful, and often funny, too, there are many extraordinary poems in these Scattered Chapters.”—Tony Hoagland Baron Wormser is the author of seven books of poetry, a collection of short stories, and a memoir. He directs the Frost Place Conference and teaches in the Stonecoast MFA Program. He served as Poet Laureate of Maine and now lives in Vermont.

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“Purpura is the real deal, and so is every successive sentence in this collection. A cornucopiac vocabulary is married to a strict economy of expression; an offbeat curiosity is married to the courage of difficult witnessing. . . .”—Albert Goldbarth “Purpura's prose is a system of delicate shocks—leaps and connections and syncopated revelations, all in the service of the spirit negotiating the truth of its experience.”—Sven Birkerts Lia Purpura's daring new book of lyric essays, On Looking, is concerned with the aesthetics and ethics of seeing. In these elegantly wrought meditations, patterns and meanings emerge from confusion, the commonplace grows strange and complex, beauty reveals its flaws, and even the most repulsive object turns gorgeous. Purpura's hand is clearly guided by poetry and behaves unpredictably, weaving together, in one lit instance, sugar eggs, binoculars, and Emerson's words: "I like the silent church before the sermon begins." In "Autopsy Report," Purpura takes an intimate look at the ruin of our bodies after death, examining the "dripping fruits" of organs and the spine in its "wet, red earth." A similar reverence is held for the alien jellyfish in "On Form," where she notes that "in order to see their particular beauty...we have to suspend our fear, we have to love contradiction." Her essays question art and its responses as well as its responsibilities, challenge familiar and familial relationships, and alter the borders between the violent and the luminous, the harrowing and the sensual. Above all, Purpura's essays are a call to notice. She is writer-as-telescope, kaleidoscope, microscope, and mirror. As she says: "By seeing I called to things, and in turn, things called me, applied me to their sight and we became each as treasure, startling to one another, and rare." This is, indeed, a rare and startling treasure of a book. Lia Purpura is the author of Increase (essays), Stone Sky Lifting (poems), The Brighter the Veil (poems), and Poems of Grzegorz Musial: Berliner Tagebuch and Taste of Ash (translations). Her awards include a National Endowment for the Arts Fellowship in Prose, a Pushcart Prize, a Fulbright Fellowship, the Associated Writing Programs Award in Creative Nonfiction, and the Ohio State University Press/The Journal Award in Poetry. Her poems and essays have appeared in Agni, DoubleTake, The Georgia Review, The Iowa Review, Parnassus: Poetry in Review, Ploughshares, and elsewhere. She is Writer-in-Residence at Loyola College in Baltimore, Maryland, and teaches at the Rainier Writing Workshop MFA Program in Tacoma, Washington.

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