Search results for ""milkweed editions""

Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of the novel Remind Me Again What Happened and the story collection The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Alexander Lumans (whose work has appeared in American Short Fiction, Gulf Coast, The Paris Review, Story Quarterly, and elsewhere), and Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic). Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected for inclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, and the Pushcart Prize Anthology, and has often been listed as “notable” in the Best American Essays. Contributors to Copper Nickel have received numerous honors for their work, including the Nobel Prize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations. Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationally to bookstores and other outlets by Publishers Group West (PGW) and Media Solutions, LLC. Issue 35 Includes: • Poetry Translation Folios with work by four 21st century female poets: emerging Korean poet Kim Yurim, translated by Megan Sungyoon; emerging Spanish poet Beatriz Miralles de Imperial, translated by Layla Benitez-James; Khazakhstani Russian-Language poet Aigerim Tazhi, translated by J. Kates; and emerging Italian poet Giovanna Cristina Vivinetto, translated by Gabriella Fee and Dora Malech. • New Poetry by National Book Award finalist Leslie Harrison; Kingsley Tufts Award-winner Angie Estes; Guggenheim Fellow Eric Pankey; Whiting Award-winner Joel Brouwer; Felix Pollack Prize-winner Emily Bludworth de Barrios; as well as emerging poets Ariana Benson, Chee Brossy, Dorsey Craft, Asa Drake, Anthony Immergluck, Luisa Maraadyan, Stephanie Niu, Ben Swimm, and many others. • New Fiction by recent NEA Fellow Sean Bernard and emerging writers Molly Beckwith Gutman, Chemutai Kiplagat, and Sean Madden. • New Essays by James Laughlin Prize-winner Kathryn Nuernberger and emerging essayist Despy Boutris.

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A penetrating and encompassing English-language translation from the celebrated French poet touching on death, domesticity, nature, language itself, and—always—the body.French literary icon Marie-Claire Bancquart (1932-2019) is known for an uncanny inhabitation of the concrete, finding whole worlds, even afterlives, in daily instances and spaces. “If I could seize a little nothing / a bit of nothing,” she muses, “all things would come to me / those that dance / in its cloth.” The tiniest moments can be acts of utterance, defiance, communion, and immortality. Yet death does indeed appear in the everyday, though it’s more than a fact of existence. It is fiction as well, small cunning stories we create so we’re not merely waiting for it: “one sets / close by / the pot of orange flowers / the here and now /

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The latest in the Seedbank series, the debut in English of a groundbreaking Indigenous poet of the Americas.In a fiercely personal yet authoritative voice, prolific contemporary poet Mikeas Sánchez explores the worldview of the Zoque people of southern Mexico. Her paced, steely lyrics fuse cosmology, lineage, feminism, and environmental activism into a singular body of work that stands for the self and the collective in the same instant. “I am woman and I celebrate every vein,” she writes, “where I guard my ancestors’ secrets / every Zoque man’s word in my mouth / every Zoque woman’s wisdom in my spit.”How to Be a Good Savage and Other Poems examines the intersection of Zoque struggles against colonialism and empire, and those of North African immigrants and refugees. Sánchez encountered the latter in Barcelona as a revelation, “spreading their white

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An authoritative volume representing the vast oeuvre of one of the twentieth century’s most brilliant and visionary poets.Widely regarded as some of the most important and innovative poetry from postwar Europe, Tomaž Šalamun’s work offers a singularly thrilling reading experience. Sharp and subtle, Šalamun’s rhythms intertwine with an incantatory force; his prescient, liberatory politics and poetics pulse like a heartbeat. In Kiss the Eyes of Peace, the histories of Slovenia, the former Yugoslavia, and Europe are broken into kaleidoscopic harmonies of terror and joy: friends and family talk to each other under the sun as snow, apples, and deer mingle with blood and bones, with salt and cabbage, with gold, silk, and wine, and with God and heaven in the sand and grass.“Love tore apart all my theories,” writes Šalamun. His oracular poems, suffused with mystic pr

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The North American debut of Tuệ Sỹ—poet, monk, scholar, dissident, and one of the great cultural figures of modern Vietnam—and a new bilingual edition to the Seedbank series.In addition to being a preeminent scholar of world philosophy and a Zen master, Tuệ Sỹ is one of Vietnam’s most celebrated poets. He is a survivor of sixteen years of imprisonment and an eloquent witness to the tumult, tragedy, and resilience of his country over the last sixty years—and a full-length translation of his work into English is long overdue.Assembled and co-translated by Vietnamese poet and essayist Nguyen Ba Chung and acclaimed American poet Martha Collins, Dreaming the Mountain reflects a lifetime of creation, crisis, and commitment. With poems presented on facing pages in Vietnamese and English, this volume includes the early imagism of Tuệ Sỹ’s Zen studies as a scholar and critic, midlife work that represents his attempted retreat from the devastation of war and subsequent years of imprisonment, and late, elliptical poems that give intensely lyrical expression to a lifetime of profound experience. From the “fleeting dream of red blood at dusk” to the quiet determination of one who sets out to “repaint the dawn,” these poems reflect the journey of an artist who speaks for his country, who captures its darkness and its light.At once personal and universal, coolly observant and deeply compassionate, the poems of Tuệ Sỹ bring singular attention to a fleeting, painfully beautiful world.

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A devastating, vulnerable collection tracing high-risk pregnancy and new motherhood amid grief.“All my life all I’ve wanted was to be myself / and someone else,” writes Elizabeth Metzger. From the shadowy perspective of confinement, where the presence of death unsettles all outcomes, these poems examine an expansion and fracturing of the self—into motherhood as well as childhood, into past selves and future unknowns. The child becomes parent, the parent becomes child, the child arrives but in doing so is lost. New loss haunts new life, and life becomes “one or two lives.” The door is more valuable than the prize behind it.With ambivalence as well as deep feeling, Metzger wonders how a single body can be expected to hold both immense joy and immense mourning, profound longing and creeping numbness, when one so often overtakes the other. She plunges into the darkness inside—of the gloomy room, the inner body, the afterlife and the pre-language mind—and sends back “a searchlight across the underworld,” Eurydice in search of herself.Aching and contemplative, Lying In is an exquisite portrait of an in-between time—and of the person who emerges on the other side. “Isn’t it obvious how we’ve changed?”

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Set in New England just as troops are returning from World War I, this is a classic American coming-of-age story. Curious and impulsive, 12-year-old Jeremy is always getting into trouble. This time, after an argument with his father, Jeremy decides to run away to Boston to meet his older brother's troop ship. Jeremy's adventures—and misadventures—provide plenty of opportunities for him to use his common sense and determination, from his train trip through rural New Hampshire to his wide-eyed explorations of Boston upon his arrival there.

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In the world of thirteen-year-old girls, everything’s fine—at least on the surface. Isabelle Lee is a typical, wisecracking, middle-of-the-pack girl who just happens to be dealing with some big issues. Her father has died and no one—especially her mother—wants to talk about it. Meanwhile, Isabelle’s sister, who “used to be nine and charming,” has messed everything up by ratting Isabelle out to their mom about her eating disorder. At school, there’s Mr. Minx, the self-important (but really not bad) English teacher; Ashley Barnum, the prettiest girl around; and the lunchroom, where tables are turf in an all-eyes-open battle for social status. Isabelle has measured the distance to being cool and she thinks it’s long shiny hair, a toothpaste smile, and perfectly broken-in size-zero jeans. Perfect is the story of one girl’s attempt to cope with loss, define true friendship, and figure out the difference between appearances and reality.

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Finalist for the NAACP Image Award for Outstanding Literary WorkAma Codjoe’s highly anticipated debut collection brings generous light to the inner dialogues of women as they bathe, create art, make and lose love. Each poem rises with the urgency of a fully awakened sensual life.Codjoe’s poems explore how the archetype of the artist complicates the typical expectations of women: be gazed upon, be silent, be selfless, reproduce. Dialoguing with and through art, Bluest Nude considers alternative ways of holding and constructing the self. From Lorna Simpson to Gwendolyn Brooks to Lynette Yiadom-Boakye, contemporary and ancestral artists populate Bluest Nude in a choreography of Codjoe’s making. Precise and halting, this finely wrought, riveting collection is marked by an acute rendering of highly charged emotional spaces.Purposefully shifting between the role of artist and subject, seer and seen, Codjoe’s poems ask what the act of looking does to a person—public looking, private looking, and that most intimate, singular spectacle of looking at one’s self. What does it mean to see while being seen? In poems that illuminate the tension between the possibilities of openness and and its impediments, Bluest Nude offers vulnerability as a medium to be immersed in and, ultimately, shared as a kind of power: “There are as many walls inside me / as there are bones at the bottom of the sea,” Codjoe writes in the masterful titular poem. “I want to be seen clearly or not at all.”“The end of the world has ended,” Codjoe’s speaker announces, “and desire is still / all I crave.”Startling and seductive in equal measure, this formally ambitious collection represents a powerful, luminous beginning.

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Winner of the 2022 Levis Reading PrizeFinalist for the National Book Critics Circle's 2021 John Leonard Prize for Best First BookA Publishers Weekly “Top Ten Pick” for Fall 2021 Poetry TitlesA Library Journal “Poetry Title to Watch” for 2021A Chicago Review of Books “Must-Read Book of September 2021”Selected by Sally Keith as a winner of the 2020 National Poetry Series, this debut collection is a ruminative catalogue of overgrowth and the places that haunt us.With Devon Walker-Figueroa as our Virgil, we begin in the collection’s eponymous town of Philomath, Oregon. We drift through the general store, into the Nazarene Church, past people plucking at the brambles of a place that won’t let them go. We move beyond the town into fields and farmland—and further still, along highways, into a cursed Californian town, a museum in Florence. We wander with a kind of animal logic, like a beast with “a mind to get loose / from a valley fallowing / towards foul,” through the tense, overlapping space between movement and stillness.An explorer at the edge of the sublime, Walker-Figueroa writes in quiet awe of nature, of memory, and of a beauty that is “merely existence carrying on and carrying on.” In her wanderings, she guides readers toward a kind of witness that doesn’t flinch from the bleak or bizarre: A vineyard engulfed in flames is reclaimed by the fields. A sow smothers its young, then bears more. A neighbor chews locusts in his yard.For in Philomath, it is the poet’s (sometimes reluctant) obligation “to keep an eye / on what is left” of the people and places that have impacted us. And there is always something left, whether it is the smell of burnt grapes, a twelfth-century bronze, or even a lock of hair.

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An Electric Literature “Most Anticipated Poetry Book of 2021”From the intersection of Onondaga, Japanese, Cuban, and Appalachian cultures, Benjamín Naka-Hasebe Kingsley’s newest collection arrives brimming with personal and political histories.“‘You tell me how I was born what I am,’” demands Naka-Hasebe Kingsley—of himself, of the reader, of the world. The poems of Dēmos: An American Multitude seek answers in the Haudenosaunee story of The Lake and Her children; in the scope of a .243 aimed at a pregnant doe; in the Dōgen poem jotted on a napkin by his obaasan; in a flag burning in a church parking lot. Here, Naka-Hasebe Kingsley places multiracial displacement, bridging disparate experiences with taut, percussive language that will leave readers breathless.With astonishing formal range, Dēmos also documents the intolerance that dominates American society. What can we learn from mapping the genealogy of a violent and loud collective? How deeply do anger, violence, and oppression run in the blood? From adapted Punnett squares to Biblical epigraphs to the ghastly comment section of a local news website, Dēmos diagrams surviving America as an other-ed American—and it refuses to flinch from the forces that would see that multitude erased.Dēmos is a resonant proclamation of identity and endurance from one of the most intriguing new voices in American letters—a voice singing “long on America as One / body but many parts.”

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“A monumental contribution to international literature.” —BLOOMSBURY REVIEW Vietnam—the very word raises many associations for Westerners. Yet while the country has been ravaged by a modern history of colonialism and war, its ancient culture is rich and multilayered, and within it poetry has long had a special place. In this groundbreaking anthology, coeditors and translators Nguyen Do and Paul Hoover present a revelatory portrait of contemporary Vietnamese poetry. What emerges from this conversation of outsiders and insiders, Vietnamese and American voices, is a worldly sensibility descended from the geographical and historical crossroads of Vietnam in the modern era. Reflecting influences as diverse as traditional folk stories and American Modernism, the twenty-one poets included in Black Dog, Black Night, many of whom have never before been published in English, introduce readers to a fresh, uncensored, and utterly unique poetic vision.

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Hailed on its original publication as "eloquent testimony to the engaging power of art in a man's life" (Washington Post), this deeply moving memoir, long out of print, is reissued with an illuminating new afterword.When acclaimed poet Gregory Orr was twelve years old, he shot and killed his brother in a hunting accident. From the immediate aftermath—a period of shock, sadness, and isolation—it quickly became clear that support and guidance would not be coming from his distant mother. Nor would it come from his father, a philandering country doctor addicted to amphetamines. Left to his own devices, the boy suffered.Guilt weighed on him throughout a childhood split between the rural Hudson Valley and jungles of Haiti. As a young man, his feelings and a growing sense of idealism prompted him to activism in the civil rights movement, where he marched and was imprisoned, and then scarred again by a terrifying abduction. Eventually, Orr’s experiences led him to understand that art, particularly poetry, could work as a powerful source of healing and meaning to combat the trauma he carried.Throughout The Blessing, Orr articulates his journey in language as lyrical as it is authentic, gifting us all with a singular tale of survival, and of the transformation of suffering into art.

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

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“My sister is pregnant with a Lemon this week, Week 14, and this is amusing. My mother's uterine tumor, the size of a cabbage, is Week 30, and this is terrifying.”When her mother is diagnosed with a rare form of cancer, Karen Babine—a cook, collector of thrifted vintage cast iron, and fiercely devoted daughter, sister, and aunt—can’t help but wonder: feed a fever, starve a cold, but what do we do for cancer? And so she commits herself to preparing her mother anything she will eat, a vegetarian diving headfirst into the unfamiliar world of bone broth and pot roast.In these essays, Babine ponders the intimate connections between food, family, and illness. What draws us toward food metaphors to describe disease? What is the power of language, of naming, in a medical culture where patients are too often made invisible? How do we seek meaning where none is to be found—and can we create it from scratch? And how, Babine asks as she bakes cookies with her small niece and nephew, does a family create its own food culture across generations?Generous and bittersweet, All the Wild Hungers is an affecting chronicle of one family’s experience of illness and of a writer's culinary attempt to make sense of the inexplicable.

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From the memories of a childhood marked by extreme poverty, mental illness, and restrictive fundamentalist Christian rules, Janisse Ray crafted a “heartfelt and refreshing” (New York Times) memoir that has inspired thousands to embrace their beginnings, no matter how humble, and to fight for the places they love. This new edition updates and contextualizes the story for a new generation and a wider audience desperately searching for stories of empowerment and hope.Ray grew up in a junkyard along U.S. Highway 1, hidden from Florida-bound travelers by hulks of old cars. In language at once colloquial, elegiac, and informative, Ray redeems her home and her people, while also cataloging the source of her childhood hope: the Edenic longleaf pine forests, where orchids grow amid wiregrass at the feet of widely spaced, lofty trees. Today, the forests exist in fragments, cherished and threatened, and the South of her youth is gradually being overtaken by golf courses and suburban development.A contemporary classic, Ecology of a Cracker Childhood is a clarion call to protect the cultures and ecologies of every childhood.

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In this, his fourth work of fiction, Béchard takes readers from nineteenth-century Prince Edward Island to modern-day Iraq, tracing the story of a North American family that is at once singular and emblematic, and exploring the cultural repercussions of war and violence. Reinventing themselves in often unexpected ways, the characters in this tapestry defy simplification. A pair of half-brothers come together and drift apart, one passive and risk-averse, the other driven by a passionate desire to understand their reclusive father. A student of Mesopotamian archaeology encounters a young Iraqi man and soon finds himself in Kurdistan, researching stolen artifacts along with mysteries in his father’s past. An Irish-Acadian soldier carries his fiddle and folk song across the battlefields of the First World War. An orphan-turned-assassin pursues his target across the deserts of Mexico and Texas, using a novel as evidence for his location. Growing together and then apart, these and others chase their dreams and run from their nightmares, hungry for life and longing for purpose. Animated throughout by a striking beauty and ferocity, A Song from Faraway pieces together “stories we tell about ourselves,” illuminating the human condition and our times.

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In this remarkable debut, which marks the beginning of Multiverse—a literary series written and curated by the neurodivergent—Hannah Emerson’s poems keep, dream, bring, please, grownd, sing, kiss, and listen. They move with and within the beautiful nothing (“of buzzing light”) from which, as she elaborates, everything jumps.In language that is both bracingly new and embracingly intimate, Emerson invites us to “dive down to the beautiful muck that helps you get that the world was made from the garbage at the bottom of the universe that was boiling over with joy that wanted to become you you you yes yes yes.” These poems are encounters—animal, vegetal, elemental—that form the markings of an irresistible future. And The Kissing of Kissing makes joyously clear how this future, which can sometimes seem light-years away, is actually as close, as near, as each immersive now. It finds breath in the woods and the words and the worlds we share, together “becoming burst becoming / the waking dream.”With this book, Emerson, a nonspeaking autistic poet, generously invites you, the reader, to meet yourself anew, again, “to bring your beautiful nothing” into the light.

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The speaker in this extraordinary collection finds herself multiply dislocated: from her childhood in California, from her family's roots in Mexico, from a dying parent, from her prior self. The world is always in motion -- both toward and away from us--and it is also full of risk: from sharks unexpectedly lurking beneath estuarial rivers to the dangers of New York City, where, as Limon reminds us, even rats find themselves trapped by the garbage cans they've crawled into. In such a world, how should one proceed? Throughout Sharks in the Rivers, Limon suggests that we must cleave to the world as it "keep[s] opening before us," for, if we pay attention, we can be one with its complex, ephemeral, and beautiful strangeness. Loss is perpetual, and each person's mouth "is the same / mouth as everyone's, all trying to say the same thing." For Limon, it's the saying--individual and collective -- that transforms each of us into "a wound overcome by wonder," that allows "the wind itself" to be our "own wild whisper."

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A multicultural anthology, edited by Susan O’Connor and Annick Smith, about the enduring importance and shifting associations of the hearth in our world.A hearth is many things: a place for solitude; a source of identity; something we make and share with others; a history of ourselves and our homes. It is the fixed center we return to. It is just as intrinsically portable. It is, in short, the perfect metaphor for what we seek in these complex and contradictory times—set in flux by climate change, mass immigration, the refugee crisis, and the dislocating effects of technology.Featuring original contributions from some of our most cherished voices—including Terry Tempest Williams, Bill McKibben, Pico Iyer, Natasha Trethewey, Luis Alberto Urrea, and Chigozie Obioma—Hearth suggests that empathy and storytelling hold the power to unite us when we have wandered alone for too long. This is an essential anthology that challenges us to redefine home and hearth: as a place to welcome strangers, to be generous, to care for the world beyond one’s own experience.

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A KIRKUS BEST BOOK OF 2018In 2012, Sarah Ruhl was a distinguished author and playwright, twice a finalist for the Pulitzer Prize. Max Ritvo, a student in her playwriting class at Yale University, was an exuberant, opinionated, and highly gifted poet. He was also in remission from pediatric cancer.Over the next four years—in which Ritvo’s illness returned and his health declined, even as his productivity bloomed—the two exchanged letters that spark with urgency, humor, and the desire for connection. Reincarnation, books, the afterlife as an Amtrak quiet car, good soup: in Ruhl and Ritvo’s exchanges, all ideas are fair, nourishing game, shared and debated in a spirit of generosity and love. “We’ll always know one another forever, however long ever is,” Ritvo writes. “And that’s all I want—is to know you forever.”Studded with poems and songs, Letters from Max is a deeply moving portrait of a friendship, and a shimmering exploration of love, art, mortality, and the afterlife.

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A polyphonic new entry in Multiverse—a literary series written and curated by the neurodivergent—JJJJJerome Ellis’s Aster of Ceremonies beautifully extends the vision of his debut book and album, The Clearing, a “lyrical celebration of and inquiry into the intersections of blackness, music, and disabled speech” (Claudia Rankine).Aster of Ceremonies asks what rites we need now and how poetry, astir in the asters, can help them along. What is the relationship between fleeing and feeling? How can the voices of those who came before—and the stutters that leaven those voices—carry into our present moment, mingling with our own? When Ellis writes, “Bring me the stolen will / Bring me the stolen well,” his voice is a conduit, his “me” is many. Through the grateful invocations of ancestors—Hannah, Mariah, Kit, Jan, and others—and their songs, he rewrites history, creating a world that blooms backward, reimagining what it means for Black and disabled people to have taken, and to continue to take, their freedom. By weaving a chorus of voices past and present, Ellis counters the attack of “all masters of all vessels” and replaces it with a family of flowers. He models how—as with his brilliant transduction of escaped slave advertisements—we might proclaim lost ownership over literature and history. “Bring me to the well,” he chants, implores, channels. “Bring me to me.” In this bringing, in this singing, he proclaims our collective belonging to shared worlds where we can gather and heal.The Aster of Ceremonies audiobook read and performed by JJJJJerome Ellis is available everywhere you listen to audiobooks.

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The mixed-race son of apple pickers, Manz lives with his hard-drinking mother and her truck-driver boyfriend in the hardscrabble world of dusty Rockhill, Texas. Forced to take a summer job rebuilding fence of a cattle ranch, Manz works alongside his friend Jed and meets a girl named Vanessa -- but even among his friends, Manz suffers from an uncontrollable paranoia. As the summer wears on, Manz becomes convinced that "Operation Wetback," a brutal postwar relocation program, is being put back into effect. As the voices in his head grow louder and more insistent, Manz struggles to negotiate the difficulties of adolescence, the perils of an oppressed environment, and the terror of losing his grip on reality.

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Well-suited for young readers who hover between beginning and intermediate books, this chapter book is about Floramel, a very lonely and bored cow. Rafie, the boy who milks her once a day, is her only company. He sings her calypso songs and talks to her in the morning before he goes off to work in the fish market. While Rafie is away, Floramel tries to sing the calypso songs, but she can't make the same sounds. But excitement comes when a flock of cattle egrets arrives. The egrets leave Lazy Esteban behind to keep Floramel company and relieve her of the horrid insects on her body. With the help of Esteban and a handful of conch shells, Floramel learns how to make her own calypso music and how she might surprise Rafie with it. This story, along with Charles Robinson's charming illustrations, is an excellent way to show the symbiotic relationships between animals. As an added bonus, Floramel and Esteban comes with its own version of the song "Calypso Cow," with which children can play and sing along.

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Having no place to play in their run-down inner city neighborhood, twelve-year-old Arturo and the other children in his sixth-grade class decide to turn a vacant lot into a playground. At first even Arturo thinks his idea might be stupid. His brother and the other gang members in Los Vatos Locos make fun of him and some of the school officials are very skeptical. But, with their teacher's help, the children create a plan to build community support for the park. With the help of the media, they make contacts with local business leaders and, in formal presentations, convince them that this is an idea to get behind.The story is inspired by actual events that led to Estrella Children's Park in central Los Angeles. Through the story of Arturo and his friends, No Place offers inspiration to young people everyone and practical instruction about how to take a good idea and make it a reality.

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Children learning to fish in the tidewaters of Chesapeake Bay, a girl escaping Ocean City to see her first American oystercatcher, a family canoeing through Okefenokee Swamp, brothers catching a trophy bass together—these are some of the vivid stories, contemporary and historical, in this multilayered portrait of the South Atlantic Coast.

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Trudy’s parents are older than other kids’ parents. As she enters middle school, Ma and Pop are in their sixties and seventies—so old, in fact, that most people mistake them for her grandparents. As if that isn’t complicated enough, Trudy’s also having a hard time at school. Math class isn’t going so well, and Ashley—who she pinky-swore she would always be best friends with—has ditched her for a new crowd. Life at Benavidez Middle School is certainly an adjustment. As the school year goes on, she finds a new best friend, the straight-talking Roshanda; has her first serious crush on a boy; and gets used to life with lockers and class schedules. But just when things are getting better at school, Trudy and Ma notice that Pop is acting funny—he forgets to pick Trudy up from school and starts to put groceries away in the bathroom. Soon, Trudy and her mother embark on a quest to find out what is wrong. Told in a voice that is honest and pure, Trudy tells the story of an eleven-year-old girl who is growing up while her beloved Pop, diagnosed with Alzheimer’s, slips away.

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From Arra Lynn Ross, a tender, generous, and generative extended poem centered on the experience of parenthood.“What is learned? I’ll return for my son; / at school, at three thirty-eight, bells will ring & run / days over years.” Using unpredictable syllabics, rhyme, and syntax, Day of the Child captures the sensation of altered time that accompanies a child’s growth. Seasons come and go. A schoolboy becomes a dreaming infant becomes a five-year-old exploring metaphor for the first time becomes an ultrasound image, “a frieze on screen.” A mother cycles through her own often dissonant identities: “soother, watcher, blame-taker.” And both mother and child assume another, significant role: artistic collaborators.For Day of the Child is a poem co-created by child and mother, offering a space in which each’s stories, thoughts, words—“unbound / by Time & time’s delineations”—tangle together. In which apartness—“Oh indivisible divisible,” the presence of another heart beating inside the mother’s own body—is continually negotiated. And in which the mother considers her place as intermediary between the child and the world: her protection, her complicity, her joy. Its octave pairs ebb and flow, expand and contract, producing a portrait of raising another human as refracted as it is circular, just as a river “breaks into many suns, the sun.” For, as the child asserts, “love is a circl[e] round / as a Ball.”Challenging the notion that parenthood is not itself a poetic endeavor, Day of the Child makes of childrearing “a refrain I reframed each day with new words.”

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A New York Times Book Review “New & Noteworthy” Poetry Collection A Book Riot “Best Fall 2020 Book in Translation” Stone-Garland, this new entry in the Seedbank Series, presents translations of six poets of the Greek lyric tradition. Anecdotes of Simonides, Anacreon, Archilochus, Theognis, Alcman, and Callimachus may be easy to come by but their poems are restored less often. That’s a loss that this anthology remedies. Reading ancient poetry is a simple pleasure, like strolling through a cemetery overgrown with wildflowers. Imagine the graveyard filled with broken stones, each with a fragment that could compose a poem. Stone by stone you build a garland that represents a possible vision of a world long gone. Dan Beachy-Quick is our guide on this walk through a ruin of lyric poetry. To these reclaimed fragments he brings a love of discovery through lyricism. Beachy-Quick’s translations take joy in the intricacies of ancient Greek and logophiles will find treats in these pages. Returning to the foundations of a poetic tradition that has evolved throughout the ages is a chance to rekindle past identities and relationships to the world.

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Winner of the 2022 Colorado Book Award for PoetryA boy asks his father what it means to die; a poet wonders whether we can truly know another’s thoughts; a man tries to understand how extreme violence and grace can occupy the same space. These are the questions Wayne Miller tackles in We the Jury: the hard ones, the impossible ones.From an academic dinner party disturbing in its crassness and disaffection to a family struggling to communicate gently the permanence of death, Miller situates his poems in dilemma. He faces moments of profound discomfort, grief, and even joy with a philosopher’s curiosity, a father’s compassion, and an overarching inquiry at the crossroads of ethics and art: what is the poet’s role in making sense of human behavior? A bomb crater–turned–lake “exploding with lilies,” a home lost during the late-aughts housing crash—these images and others, powerful and resonant, attempt to answer that question.Candid and vulnerable, Miller sits with us while we puzzle: we all wish we knew what to tell our children about death. But he also pushes past this and other uncertainties, vowing—and inviting us—to “expand our relationship / with Death,” and with every challenging, uncomfortable subject we meet. In the face of questions that seem impossible to answer, We the Jury offers not a shrug, but curiosity, transparency, a throwing of the arms wide.

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“Even present tense has some of the grace of past tense, / what with all the present tense left to go.” From Max Ritvo—selected and edited by Louise Glück—comes a final collection of poems fully inscribed with the daring of his acrobatic mind and the force of his unrelenting spirit. Diagnosed with terminal cancer at sixteen, Ritvo spent the next decade of his life pursuing poetry with frenetic energy, culminating in the publication of Four Reincarnations. As with his debut, The Final Voicemails brushes up against the pain, fear, and isolation that accompany a long illness, but with all the creative force of an artist in full command of his craft and the teeming affection of a human utterly in love with the world. The representation of the end of life resists simplicity here. It is physical decay, but it is also tedium. It is alchemy, “the breaking apart, / the replacement of who, when, how, and where, / with what.” It is an antagonist—and it is a part of the self. Ritvo’s poems ring with considered reflection about the enduring final question, while suggesting—in their vibrancy and their humor—that death is not merely an end. The Final Voicemails is an ecstatic, hopeful, painful—and completely breathtaking—second collection.

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From the author of You Must Remember This, an uncanny collection of poems that plumbs our capacity for cruelty and for wonder. Who? A speaker at once questioner and questioned. An artist who embraces and resists what his work requires of him. “A naked / man in a crowd.” What? Poems at once surreal and vulnerable, refusing to hide their uncomfortable truths behind their wildest imaginings. Where? In the mind, where “Nobody fails at meditation / like I do.” Outside dreamlike cities. In the rich earth under a simple mattress. In new, disorienting fables and seemingly familiar folktales. When? As a child, spurning his mother. As a young man, seeking wisdom and peace. And as an older man, looking back at what he once was. Suffused in psychology, uncertainty, and desire, The Interrogation is a catechism of the self—or selves. Inside this collection’s hall of mirrors, faces double and multiply endlessly, and voices echo, laugh, and taunt. Why? these poems ask. Why does art demand sacrifice? Why does the heart want what it wants? And how do we escape loneliness? The Interrogation is an accomplished collection, unsparingly honest, infused with yearning and laced with dark humor.

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How can one reconcile the irreconcilable? In this masterful companion to Day Unto Day, Martha Collins finds common ground between contradictions—beauty and horror, joy and mortality, the personal and the political. Like its predecessor, the daybook of Night Unto Night begins with time. Its six sequences, each written in one month a year, over the course of six years, bring together the natural and the all-too-human. Red-winged blackbirds and the death of a friend. The green leaves of a maple tree and drones overseas. A February spent in Italy and the persistence of anti-immigrant rhetoric. Dissonance is a permanent state, Collins suggests, something to be occupied rather than solved. And so this collection approaches its transcendence in the space between these seeming contrasts—and in the space between stanzas, sequences, days, and months. These poems are powerfully alive, speaking to and revising each other, borrowing a word or a line before turning it on end. We are doomed to repeat mistakes, seasons, wars, words. Yet redemption beckons, too, in the persistence of empathy and love.

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A woozy logic dominates these poems: a heart can become a buzzing hive of bees, a rooster can trigger a series of bombs, a young man can embrace a city bus as his spirit animal. Yet Bazzett slices through his poems with a dangerous sense of humor. "Your humor is deft and cutting / my fingers off one by one," as one poem puts it. Once dismembered, Bazzett's poems can re-member us and piece together the ways in which we once thought we knew ourselves, creating a new, strange sense of self. A meditation on who we are, who we've been, and what we might become, Bazzett's writing is like a note written in invisible ink: partially what we see on the page, but also but also the "many dozen doorways that we don't walk through each day." You Must Remember This is a consistently slippery, enrapturing collection of poems.

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Love. Sex. Death. Meat. Traffic. Pets. In Cattle of the Lord, Rosa Alice Branco offers a stunning poetic vision at once sacred and profane, a rich evocation of daily life troubled by uneasy sacramentality. In a collection translated by Alexis Levitin and presented in both Portuguese and English, readers find themselves in a world turned upside down: darkly comic, sensual, and rife with contradiction. Here, liturgical words become lovers' invitations. Cows moo at the heavens. And chickens are lessons on the resurrection. Over the course of the collection, Branco's unorthodox -- even blasphemous -- religious sensibility yields something ultimately hopeful: a belief that the physical, the quotidian, and the animalistic are holy, too. Writing at the boundaries of sense and mystification, combining sensuous lyrics and wit with theological interrogation, Branco breaks down what we think we know about religion, faith, and what it means to be human.

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Winner of the National Poetry Series Mothers masquerading as witches and sepulchral bellhops who reveal themselves to be fathers: in Justin Boening's debut collection of poems, selected for the National Poetry Series by Wayne Miller, nothing is as it seems. Peopled by figures both uncanny and tragic--lionesses who dance and cry, surgeons who carry with them the trauma of past lives, an opera singer whose notes go awry--Not on the Last Day, but on the Very Last uses the language of dreams and of fairy tales to deliver a keenly felt exploration of family, grief, regret, and belonging. Here everything stands for something else. But though the Freudian mother and father lurk behind every sequined costume, continue to strip away the masks, Boening suggests, and you'll find an even more primal absence at the center--Nobody, No One, mortality, death. Beyond that, we find, lies only the truth of our relationships with each other. Shot through with mournfulness, gorgeously spangled in its language--"a squall of chrysanthemums / and the weird"--Not on the Last Day, but on the Very Last is an unforgettable collection about our human failings and the grace we each seek.

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Influenced by both the "gray, sinister sea" near the village where Yi Lu grew up during the Cultural Revolution, and the beauty of the sea in the books she read as a child, Sea Summit is a collection of paradox and questioning. The sea is an impossible force to the poet: it is both a majestic force that predates man, and something to carry with us wherever we go, to be put "by an ancient rattan chair," so we can watch "its waves toss" from above. Exploring the current ecological crisis and our complicated relationship to the wildness around us, Yi Lu finds something more complex than a traditional nature poet might in the mysterious connection between herself and the forces of nature represented by the boundless ocean. Translated brilliantly by the acclaimed poet Fiona Sze-Lorrain, this collection of poems introduces an important contemporary Chinese poet to English-language readers.

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In his first collection since Fancy Beasts, a book that "slice[d] straight through nerve and marrow on its way to the heart and mind of the matter" (Tracy K. Smith), Alex Lemon dazzles us again with his exuberance and candor. Whether in unrestrained descriptions of sensory overload or tender meditations on fatherhood and mortality, Lemon blurs that nebulous line between the personal and the pop-cultural. These poems are full of frenetic energy and images pleasantly, strangely colliding: jigsaws and bathtubs and kung-fu and X-rays. It's a distinct brand of edginess that readers of Lemon will once again applaud. A lean and muscular collection, The Wish Book marks a new high in this poet's unstoppable career.

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A William Carlos William Award Finalist for 2012 A Kansas City Star Top Book of 2012 A Library Journal Top Winter Poetry Pick A series of semi-mythologized, symbolic narratives interspersed with dramatic monologues, the poems collected in The City, Our City showcase the voice of a young poet striking out, dramatically, emphatically, to stake his claim on "the City." It is an unnamed, crowded place where the human questions and observations found in almost any city--past, present, and future--ring out with urgency. These poems--in turn elegiac, celebratory, haunting, grave, and joyful--give hum to our modern experience, to those caught up in the City's immensity, and announce the arrival of a major new contemporary poet.

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The Village on Horseback features mesmerizing new work from the author of Samedi the Deafness and The Way Through Doors, one of the New Yorker's Best Books of 2009. This collection of new pieces by experimental writer Jesse Ball is a philosophical recasting of myth and legend. Unearthing parables from the compost heap of oral tradition, folklore, literature, and popular culture, The Village on Horseback can be read as a sort of fabulist's compendium by an author who has been called charming, lyrical, fanciful, and "disturbingly original."

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Drawn from the environments of northern Vermont and the South of France, the poems in Rooms and Their Airs explore the interface of the human and natural worlds, further eroding that distinction with each poem. The verse here merges subject and object, often giving voice to natural phenomena -- a vernal pool, a fossil, a beam of light. These poems sparkle with humor, sophisticated word play, and intellectual examination, reflecting an elegant and contagious curiosity about history, language, and the world. Linked poems give voice to garden vegetables while drawing inspiration from the archival illustrations in The Medieval Handbook. A mother and daughter's trip to see France's cave paintings uncovers living vestiges in prehistoric depictions and reaffirms the enduring nature of art. With this collection, Jody Gladding cements her reputation as the literary heir to A. R. Ammons, Gustaf Sobin, and Lorine Niedecker.

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The counterpointed and imagistic work collected in Gaze reveals a poet uniquely concerned with the idea of vision: how the objective world (the world of time and memory), the world of the inner life, and the other world (the world of imagination and alternate life) may be seen, and how the experience of this seeing may alter itself and create meaning. Each of the book's three sections examines one of these categories of seeing, moving between narrative and lyric modes, between the undisguised voice of the poet and the voices of a variety of characters, creatures, and ghosts. Swinging between moments of delicate connection (touching a girl's wrist) and striking brutality (a boy slamming a just-caught fish against a boat's stern to kill it "as he was taught"), Howell turns these modes of vision in on each other, and the result is a collection wholly unified and unlike anything come before.

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In her highly anticipated new collection, Deborah Keenan sifts through inanimate objects and forgotten memories in search of personal validation. Her journal-like confessions create an instant bond with the reader, yet these seemingly simple poems daringly redefine common language. Keenan skillfully twists words to suit her ends, creating a colorful, dream-like world filled with lions, paintings, wars, and mummies. Throughout, she constantly reorganizes this world in an effort to realize her place in it.

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Tom Crawford's words paint familiar landscapes—Seattle's coastline, New York's public spaces, rural China, and Western mobile homes—in a new light. In poems as humorous as they are revelatory, sea birds careen off cliff walls "Then back/to the water to consider/where they went wrong," nudes are spontaneously drawn in urban coffee shops, and the Bhagavad Gita sits on a shelf in a trailer home, holding up deodorant. Crawford’s Eastern spirituality, tempered by working-class pragmatism, transforms these narrative poems into memorable portraits of the everyday.

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