Search results for ""Graywolf Press,U.S.""

Dana Gioia has been hailed for decades as a master of traditional lyric forms, whose expansive and accessible poems are offerings of rare poignancy and insight. In Meet Me at the Lighthouse, he invites us back to old Los Angeles, where the shabby nightclub of the title beckons us into its noirish immortality. Elsewhere, he laments the once-vibrant neighborhood where he grew up, now bulldozed, and recalls his working-class family of immigrants. Gioia describes a haunting from his mother on his birthday, Christmas Eve. Another poem remembers his uncle, a US Merchant Marine. And "The Ballad of Jesús Ortiz" tells the story of his great-grandfather, a Mexican vaquero who was shot dead at a tavern in Wyoming during a dispute over a bar tab. "I praise my ancestors, the unkillable poor," Gioia writes. This book is dedicated to their memory. Including poems, song lyrics, translations, and concluding with an unsettling train ride to the underworld, Meet Me at the Lighthouse is a luminous exploration of nostalgia, mortality, and what makes a life worth living and remembering.

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In her virtuosic debut, Courtney Faye Taylor explores the under-told history of the murder of Latasha Harlins-a fifteen-year-old Black girl killed by a Korean shop owner, Soon Ja Du, after being falsely accused of shoplifting a bottle of orange juice. Harlins's murder and the following trial, which resulted in no prison time for Du, were inciting incidents of the 1992 Los Angeles uprising, and came to exemplify the long-fraught relationship between Black and Asian American communities in the United States. Through a collage-like approach to collective history and storytelling, Taylor's poems present a profound look into the insidious points at which violence originates against-and between-women of color. Concentrate displays an astounding breadth of form and experimentation in found texts, micro-essays, and visual poems, merging worlds and bending time in order to interrogate inexorable encounters with American patriarchy and White supremacy manifested as sexual and racially charged violence. These poems demand absolute focus on Black womanhood's relentless refusal to be unseen, even and especially when such luminosity exposes an exceptional vulnerability to harm and erasure. Taylor's inventive, intimate book radically reconsiders the cost of memory, forging a path to a future rooted in solidarity and possibility. "Concentrate," she writes. "We have decisions to make. Fire is that decision to make."

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Charles Baxter's new collection of essays, Wonderlands, joins his other works of nonfiction, Burning Down the House and The Art of Subtext. In the mold of those books, Baxter shares years of wisdom and reflection on what makes fiction work, including essays that were first given as craft talks at the Bread Loaf Writers' Conference. The essays here range from brilliant thinking on the nature of wonderlands in the fiction of Haruki Murakami and other fabulist writers, to how request moments function in a story. Baxter is equally at home tackling a thorny matter such as charisma (which intersects with political figures like the disastrous forty-fifth US president) as he is bringing new interest to subjects such as list-making in fiction. Amid these craft essays, an interlude of two personal essays-the story of a horrifying car crash and an introspective "letter to a young poet"-add to the intimate nature of the book. The final essay reflects on a lifetime of writing, and closes with a memorable image of Baxter as a boy, waiting at the window for a parent who never arrives and filling that absence with stories. Wonderlands will stand alongside his prior work as an insightful and lasting work of criticism.

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No one blends ironic intelligence, emotional frankness, radical self-awareness, and complex humor the way Vijay Seshadri does. In this, his fourth collection, he affirms his place as one of America's greatest living poets. That Was Now, This Is Then takes on the planar paradoxes of time and space, destabilizing highly tuned lyrics and elegies with dizzying turns in poems of unrequitable longing, of longing for longing, of longing to be found, of grief. In these poems, Seshadri's speaker becomes the subject, the reader becomes the writer, and the multiplying refracted narratives yield an "anguish so pure it almost / feels like joy."

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An astonishing new novel of loss and grief from "one of our culture's preeminent novelists" (Los Angeles Times) Zach Wells is a perpetually dissatisfied geologist-slash-paleobiologist. Expert in a very narrow area--the geological history of a cave forty-four meters above the Colorado River in the Grand Canyon--he is a laconic man who plays chess with his daughter, trades puns with his wife while she does yoga, and dodges committee work at the college where he teaches. After a field trip to the desert yields nothing more than a colleague with a tenure problem and a student with an unwelcome crush on him, Wells returns home to find his world crumbling. His daughter has lost her edge at chess, she has developed mysterious eye problems, and her memory has lost its grasp. Powerless in the face of his daughter's slow deterioration, he finds a mysterious note asking for help tucked into the pocket of a jacket he's ordered off eBay. Desperate for someone to save, he sets off to New Mexico in secret on a quixotic rescue mission. A deeply affecting story about the lengths to which loss and grief will drive us, Telephone is a Percival Everett novel we should have seen coming all along, one that will shake you to the core as it asks questions about the power of narrative to save.

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Benjamin Percy is a versatile and propulsive storyteller whose genre-busting novels and story collections have ranged from literary to thriller to postapocalyptic. In his essay collection, Thrill Me, he laid bare for readers how and why he channels disparate influences in his work. Now, in his first story collection since the acclaimed Refresh, Refresh, Percy brings his page-turning skills to bear in Suicide Woods, a potent brew of horror, crime, and weird happenings in the woods. A boy in his uncle’s care falls through the ice on a pond and emerges in a frozen, uncanny state. A group of people in therapy for suicidal ideation undergoes a drastic session in the woods with fatal consequences. A body found on a train and a blood-soaked carpet in an empty house are clues to a puzzling crime in a small town. And in a pulse-quickening novella, thrill seekers on a mapping expedition into the “Bermuda Triangle” of remote Alaska are stranded on a sinister island that seems to want them dead. In story after story, which have appeared in magazines including the Virginia Quarterly Review, Orion Magazine, McSweeney’s, and Ploughshares, Percy delivers haunting and chilling narratives that will have readers hanging on every word. A master class in suspense and horror, Suicide Woods is a dark, inventive collection packed to the gills with eerie, can’t-miss tales.

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Heed the Hollow introduces the work of Malcolm Tariq, whose poems explore the concept of "the bottom" across blackness, sexuality, and the American South. These lyrics of queer desire meet the voices of enslaved ancestors to reckon with a lineage of trauma that manifests as silence, pain, and haunting memories, but also as want and love. In bops, lyrics, and erasures, Heed the Hollow tells of a heritage anchored to the landscape of the coastal South, to seawalls shaped by forced labor, and to the people "marked into the bottom / of history where then now / we find no shadow of life." From that shadow, the voices in these poems make their own brightness, reclaiming their histories from a language that evolved to exclude them. With an introduction by Chris Abani, Heed the Hollow exults in the spiritual and the physical, in its blackness and eroticism, and in the beauty of touch and music.

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Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the ''vertigo'' effects of new poetry give way to appraisals of Robert Bly, Sharon Olds and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both a private and public level. Tony Hoagland is already one of this country''s most provocative poets, and this book confirms his role as a restless and perceptive literary critic.

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This spiritually resonant and poltically urgent new collection of poems by the 2002 winner of the Lenore Marshall Award responds with moving clarity to the contrast between American imperialist goals and the realities of life lived ''on the ground''. While our minds are preoccupied with the war games we watch on television, we go on living among our ordinary joys and appetites, according to our daily desires, our routine plans. How can we live under these dissonant conditions and reconcile our existence with our longings? Howe proves herself once more to be a relevant and visceral poet.

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John D''Agata is an alchemist who changes trash into purest gold. Guy Davenport, Harper''sJohn D''Agata journeys the endless corridors of America''s myriad halls of fame and faithfully reports on what he finds there. In a voice all his own, he brilliantly maps his terrain in lists, collage, and ludic narratives. With topics ranging from Martha Graham to the Flat Earth Society, from the brightest light in Vegas to the artist Henry Darger, who died in obscurity, Halls of Fame hovers on the brink between prose and poetry, deep seriousness and high comedy, the subject and the self.

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In 1991, Dana Gioia''s provocative essay Can Poetry Matter? was published in the Atlantic Monthly, and received more public response than any other piece in the magazine''s history. In his book, Gioia more fully addressed the question: Is there a place for poetry to be part of modern American mainstream culture? Ten years later, the debate is as lively and heated as ever. Graywolf is pleased to re-issue this highly acclaimed collection in a handsome new edition, which includes a new Introduction by distinguished critic and poet, Dana Gioia.

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This story revolves around three main characters who become entangled in each other's lives: Joe, who arrives in Boston and is mistaken for an African, rather than an African-American; Paula, a social worker; and Eric, a writer who struggles in a world that ignores his work.

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"The Way It Is" gathers many of the unpublished poems from William Stafford's last months, including the poem he wrote the day he died, as well as a generous selection of works from throughout his career.

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Emily Skaja’s debut collection is a fiery, hypnotic book that confronts the dark questions and menacing silences around gender, sexuality, and violence. Brute arises, brave and furious, from the dissolution of a relationship, showing how such endings necessitate self-discovery and reinvention. The speaker of these poems is a sorceress, a bride, a warrior, a lover, both object and agent, ricocheting among ways of knowing and being known. Each incarnation squares itself up against ideas of feminine virtue and sin, strength and vulnerability, love and rage, as it closes in on a hard-won freedom. Brute is absolutely sure of its capacity to insist not only on the truth of what it says but on the truth of its right to say it. “What am I supposed to say: I’m free?” the first poem asks. The rest of the poems emphatically discover new ways to answer. This is a timely winner of the Walt Whitman Award, and an introduction to an unforgettable voice.

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Published twenty-five years after her untimely death, The Best Poems of Jane Kenyon presents the essential work of one of America's most cherished poets-celebrated for her tenacity, spirit, and grace. In their inquisitive explorations and direct language, Jane Kenyon's poems disclose a quiet certainty in the natural world and a lifelong dialogue with her faith and her questioning of it. As a crucial aspect of these beloved poems of companionship, she confronts her struggle with severe depression on its own stark terms. Selected by Kenyon's husband, Donald Hall, just before his death in 2018, The Best Poems of Jane Kenyon collects work from across a life and career that will be, as she writes in one poem, "simply lasting."

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An intimate, moving book written with the immediacy and directness of one who still struggles with the effects of mental and chronic illness, The Collected Schizophrenias cuts right to the core. Schizophrenia is not a single unifying diagnosis, and Esmé Weijun Wang writes not just to her fellow members of the “collected schizophrenias” but to those who wish to understand it as well. Opening with the journey toward her diagnosis of schizoaffective disorder, Wang discusses the medical community’s own disagreement about labels and procedures for diagnosing those with mental illness, and then follows an arc that examines the manifestations of schizophrenia in her life. In essays that range from using fashion to present as high-functioning to the depths of a rare form of psychosis, and from the failures of the higher education system and the dangers of institutionalisation to the complexity of compounding factors such as PTSD and Lyme disease, Wang’s analytical eye, honed as a former lab researcher at Stanford, allows her to balance research with personal narrative. An essay collection of undeniable power, The Collected Schizophrenias dispels misconceptions and provides insight into a condition long misunderstood.

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Still Falling expands on Jennifer Grotz's precise sense of craft and voice to investigate new territory in this astonishing collection. These poems are emotionally raw and introspective, exploring the profound capaciousness of grief. Grotz carefully and deftly carries the weight of losses and their aftermaths-the deaths of the poet's mentors, friends, and mother; the endings of relationships; and the enclosures of a life spent in attendance to the world in a state of wanting rather than truly living. Here also are poems that movingly and crucially decide what dedicating one's life to poetry might require. But in the wake of painful loss, Grotz writes toward "this world, the living." Her poems reveal and meditate on the paradoxical relationship between the literal and the figurative, at the heart of poetry itself, like the darkness and light of Caravaggio's chiaroscuro. Still Falling is a book to be read slowly, calling readers back into the stillness of being, finding hope, "not death / where darkness and silence and dust are / only darkness and silence and dust."

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An ex-con hired to fix up a school bus for a couple living off the grid in the desert finds himself in the middle of their tattered relationship. An electrician's plan to take his young nephew on a hike in the mountains, as a break from the motel room where they live, goes awry thanks to an untrustworthy new coworker. A night custodian makes the mistake of revealing too much about his work at a medical research facility to a girl who shares his passion for death metal. A relapsing addict struggles to square his desire for a white woman he meets in a writing class with family expectations and traditions. Set in and around Flagstaff, the stories in Sinking Bell depict violent collisions of love, cultures, and racism. In his gritty and searching fiction debut, Bojan Louis draws empathetic portraits of day laborers, metalheads, motel managers, aspiring writers and musicians, construction workers, people passing through with the hope of something better somewhere else. His characters strain to temper predatory or self-destructive impulses; they raise families, choose families, and abandon families; they endeavor to end cycles of abuse and remake themselves anew.

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In Jeffrey Yang's vision for this brilliant new collection, the essence of poetry can be broken down into line and light. Dispersed across these poems are luminous centers, points of a constellation tracing lines of energy through art, myth, and history. These interconnections create vast and dynamic reverberations. As Yang asks in one poem, "What vitality binds a universe?" One long series explores through shadow and play the ancient Malay kingdom of Langkasuka, a legendary nexus of creativity, commerce, and spiritual life, threatened over time by violence, climate, and environmental degradation. The title poem is a study of time, night turning to dawn, revealing the lines and lights of an art installation on an island in the Hudson River, flowing into another poem about Grand Central Terminal's atrium of stars, flowing upriver into a poem that describes a cemetery for a state prison. Another extended sequence is a collaboration investigating memory and loss, composed of Yang's poems, Japanese translations by Hiroaki Sato, and drawings made with ink derived from tea leaves by the artist Kazumi Tanaka. The collection ends with moving elegies for poets, translators, and artists whose works have informed this one. Altogether, Line and Light illuminates the ways that ancestry holds and makes possible the act of making art.

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In 2016, Lawrence Jackson accepted a new job in Baltimore, searched for schools for his sons, and bought a house. It would all be unremarkable but for the fact that he had grown up in West Baltimore and now found himself teaching at Johns Hopkins, whose vexed relationship to its neighborhood, to the city and its history, provides fodder for this captivating memoir in essays. With sardonic wit, Jackson describes his struggle to make a home in the city that had just been convulsed by the uprising that followed the murder of Freddie Gray. His new neighborhood, Homeland-largely White, built on racial covenants-is not where he is "supposed" to live. But his purchase, and his desire to pass some inheritance on to his children, provides a foundation for him to explore his personal and spiritual history, as well as Baltimore's untold stories. Each chapter is a new exploration: a trip to the Maryland shore is an occasion to dilate on Frederick Douglass's complicated legacy; an encounter at a Hopkins shuttle-bus stop becomes a meditation on public transportation and policing; and Jackson's beleaguered commitment to his church opens a pathway to reimagine an urban community through jazz. Shelter is an extraordinary biography of a city and a celebration of our capacity for domestic thriving. Jackson's story leans on the essay to contain the raging absurdity of Black American life, establishing him as a maverick, essential writer.

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Kemi Alabi's transcendent debut reimagines the poetic and cultural traditions from which it is born, troubling the waters of some of our country's central and ordained fictions-those mythic politics of respectability, resilience, and redemption. Instead of turning to a salvation that has been forced upon them, Alabi turns to the body and the earth as sites of paradise defined by the pleasure and possibility of Black, queer fugitivity. Through tender love poems, righteous prayers, and vital provocations, we see the colonizers we carry within ourselves being laid to rest. Against Heaven is a praise song made for the flames of a burning empire-a freedom dream that shapeshifts into boundless multiplicities for the wounds made in the name of White supremacy and its gods. Alabi has written an astonishing collection of magnificent range, commanding the full spectrum of the Black, queer spirit's capacity for magic, love, and ferocity in service of healing-the highest power there is.

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A strident argument about the dangers of compromise in art, politics, and everyday life On Compromise is an argument against contemporary liberal society's tendency to view compromise as an unalloyed good-politically, ethically, and artistically. In a series of clear, convincing essays, Rachel Greenwald Smith discusses the dangers of thinking about compromise as an end rather than as a means. To illustrate her points, she recounts her stint in a band as a bass player, fighting with her bandmates about "what the song wants," and then moves outward to Bikini Kill and the Riot Grrrl movement, the Iowa Writers' Workshop, Poetry magazine, the resurgence of fascism, and other wide-ranging topics. Smith's arguments are complex and yet have a simplicity to them, as she writes in a concise, cogent style that is eminently readable. By weaving examples drawn from literature, music, and other art forms with political theory and first-person anecdotes, she shows the problems of compromise in action. And even as Smith demonstrates the many ways that late capitalism demands individual compromise, she also holds out hope for the possibility of lasting change through collective action. Closing with a piercing discussion of the uncompromising nature of the COVID-19 pandemic and how global protests against racism and police brutality after the murder of George Floyd point to a new future, On Compromise is a necessary and vital book for our time.

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Let Me Think is a meticulous selection of short stories by one of the preeminent chroniclers of the American absurd. Through J. Robert Lennon's mordant yet sympathetic eye, the quotidian realities of marriage, family, and work are rendered powerfully strange in this rich and innovative collection. These stories, most no more than a few pages, are at once experimental and compulsively readable, the work of an expert craftsman who can sketch whole lives in a mere handful of lines, or reveal, over pages, the boundless complexity of a passing thought. Here you'll find a heist gone wrong, a case of mistaken identity, a hostile encounter with a neighborhood eccentric, a glass eye, a talking owl, and a six-fingered hand. Whatever the subject, Lennon disarms the reader with humor before pivoting to pathos, pain, and disappointment-most notably in an extraordinary sequence of darting, painfully funny fictions about a disintegrating marriage that captures the myriad ways intimacy can fail us, and the ways that we can fail it. Like Lennon's earlier story collection Pieces for the Left Hand, Let Me Think holds a mirror up to our long-held grudges and secret desires, our petty resentments and moments of redeeming grace, and confirms him as a virtuoso of the form.

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Little Glass Planet exults in the strangeness of the known and unknowable world. In poems set as far afield as Mumbai and Marfa, Texas, Dobby Gibson maps disparate landscapes, both terrestrial and subliminal, to reveal the drama of the quotidian. Aphoristic, allusive, and collaged, these poems mine our various human languages to help us understand what we might mean when we speak to each other-as lovers, as family, as strangers. Little Glass Planet uses lyric broadcasts to foreshorten the perceived distances between us, opening borders and pointing toward a sense of collectivity. "This is my love letter to the world," Gibson writes, "someone call us a sitter. / We're going to be here a while." Elegiac, funny, and candid, Little Glass Planet is a kind of manual for paying attention to a world that is increasingly engineered to distract us from our own humanity. It's a book that points toward hope, offering the possibilities of a "we" that only the open frequency of poetry can create, possibilities that are indistinguishable from love.

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David Rivard''s new collection describes the many powers - psychological and historical - that flow through people''s lives and explores a vast range of contemporary and fundamental issues, including faith, greed, pleasure, celebrity, gossip and consolation. ''For those of us who need it,'' one poem asserts, ''instruction is everywhere.'' Full of unsettling humour and the careening movement of memory and imagination, Rivard''s poetry will strike a chord with many readers.

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Drawing inspiration from poets like Walt Whitman, Gwendolyn Brooks and Robert Hayden, Elizabeth Alexander wrote this poem which she read at the inauguration of Barack Obama. She is the fourth poet in US history to read at a presidential inauguration. Critics have praised the poem, calling it ''beautifully subversive''. This elegant commemorative edition is published in honour of the historic occasion and will serve as a cherished reminder of one of the most closely watched inaugurations in history.

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In her 93 remarkable years, Brenda Ueland published six million words. She said she had two rules she followed absolutely: to tell the truth and not to do anything she didn''t want to do. Her integrity shines throughout her bestselling classic on teh process of writing - a book that has inspired thousands to discover, or rediscover, their own creativity. Carl Sandburg called it ''the best book ever written about how to write.''

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A sparkling non-fiction debut using unexpectedly non-literary forms - the index, the Harvard outline, the mathematical proof - to delve into an equally surprising mix of obsessions: disc golf; the history of mining in northern Michigan; car washes; snow; topology. Monson remembers the telegram, a disappearing form, and reflects on his outsider''s experience at an exclusive Detroit area boarding school in the form of a criminal history.

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17-year-old Evan''s adventures begin with mowing a neighbour''s lawn - a summer job that leads him into an unpredictable world of desire and betrayal. Estranged from his parents and his older brother, he moves in with 41-year-old William and begins a disastrous series of attempts to make a new home. Must he make a choice between family and desire?

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Cultural critic Gerald Early has gathered here a collection of 13 writers who offer personal reflections on the public obsession with sport. They range from the pool hustler to the closet baseball fan; from late-night rodeo on cable TV to tennis games on the weathered fields of Illinois. But beyond fan or competitor or social commentator, these writers are storytellers, and it is in their personal stories - poignant, funny, extreme, illuminating - that we begin to identify the themes that galvanize both sport and literature: conflict and sacrifice, ritual and passion, humiliation and heroism.

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From a brilliant, one-of-a-kind maestro (Booklist), a vibrant tapestry of memoir, research, and criticismAgain, today, if I must choose between love and memory, I choose memory.What would you risk to know yourself? Which stories are you willing to follow to the bitter end, revise, or, possibly, begin all over? In this collection of five interrelated essays, Lucy Ives explores identity, national fantasy, and history. She examines events and records from her own lifea childhood obsession with My Little Pony, papers and notebooks from college, an unwitting inculcation into the myth of romantic love, and the birth of her sonto excavate larger aspects of the past that have been suppressed or ignored. With bracing insight and extraordinary range, she weaves new stories about herself, her family, our country, and our culture. She connects postmodern irony to eighteenth-century cults, Cold War musicals to a great uncle's suicide to the settlement of the

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Now in paperback, Claudia Rankine's "skyscraper in the literature on racism" (Christian Science Monitor) In Just Us, Claudia Rankine invites us into a necessary conversation about Whiteness in America. What would it take for us to breach the silence, guilt, and violence that arise from addressing Whiteness for what it is? What are the consequences if we keep avoiding this conversation? What might it look like if we step into it? "I learned early that being right pales next to staying in the room," she writes. This brilliant assembly of essays, poems, documents, and images disrupts the false comfort of our culture's liminal and private spaces-the airport, the theater, the dinner party, the voting booth-where neutrality and politeness deflect true engagement in our shared problems. Rankine makes unprecedented art out of the actual voices and rebuttals of others: White men responding to, and with, their White male privilege; a friend clarifying her unexpected behavior at a play; and women on the street expressing the political currency of dyeing their hair blond, all running alongside fact-checked notes and commentary that complement Rankine's own text, complicating notions of authority and who gets the last word. Funny, vulnerable, and prescient, Just Us is Rankine's most intimate and urgent book, a crucial call to challenge our vexed reality.

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Space Invaders is the story of a group of childhood friends who, in adulthood, are preoccupied by uneasy memories and visions of their classmate Estrella González Jepsen. In their dreams, they catch glimpses of Estrella’s braids, hear echoes of her voice, and read old letters that eventually, mysteriously, stopped arriving. They recall regimented school assemblies, nationalistic class performances, and a trip to the beach. Soon it becomes clear that Estrella’s father was a ranking government officer implicated in the violent crimes of the Pinochet regime, and the question of what became of Estrella after she left school haunts her erstwhile friends. Growing up, these friends - from her pen pal, Maldonado, to her crush, Riquelme - were old enough to sense the danger and tension that surrounded them, but were powerless in the face of it. They could control only the stories they told one another and the “ghostly green bullets” they fired in the video game they played obsessively. One of the leading Latin American writers of her generation, Nona Fernández effortlessly builds a choral voice and constantly shifting image of young life in the waning years of the dictatorship. In her short but intricately layered novel, she summons the collective memory of a generation, rescuing felt truth from the oblivion of official history.

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Drawing its title from the 1863 Federal Act that banished the Dakota people from their homelands, this remarkable debut collection reckons with the present-day repercussions of historical violence. Through an array of brief lyrics, visual forms, chronologies, and sequences, these virtuosic poems trace a path through the labyrinth of distances and absences haunting the American colonial experiment. Removal Acts takes its speaker's fraught methods of accessing the past as both subject and material: family photos, the fragile artifacts of primary documents, and the digital abyss of web browsers and word processors. Alongside studies of two of her Dakota ancestors, Lynch has assembled an intimate record of recovery from bulimia, insisting that self-erasure cannot be separated from the erasures of genocide. In these rigorous, scrutinizing examinations of "removal" in its many forms-as physical displacement, archival absence, Whiteness, and vomit-Lynch has crafted a harrowing portrait of the entwined relationship between the personal and historical. The result is a powerful affirmation of resilience and resolute presence in the face of eradication.

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Low explores the jaggedness of memory and what is salvageable when the past is broken by loss, violence, and trauma. Punctuating Nick Flynn's signature lyric poems are prose pieces and sequences, veering toward essays, including "Notes on a Calendar Found in a Stranger's Apartment," a truly strange experience of cataloging a deceased neighbor's belongings and how quickly they become worthless; "Notes on Thorns & Blood," a study of time and wounds; and "Notes on a Year of Corona," a loose sonnet crown about the early stages of the pandemic and the unrest after racist police violence. Despite its existential reverberations, Low is a celebration of desire in all its forms-the desire for home, the desire to be held, the desire for people to be kind to one another, the desire to understand where we are from and what we can do to make the best of that. But how do we create a home, these poems ask, in a world of satellites and atom bombs and algorithms, those things designed to dehumanize and reduce us? To get low is to reconnect with the earth, to engage with the emotional state of the planet, to remember that "the cure all along grows beside us." Flynn's collection is a prismatic, even prophetic, experience, with new complexity and ardor at every turn.

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Saddled with student loans, medical debt, and the sudden news of her infertility after a major car accident, Shannon, an African American woman, follows her boyfriend to Morocco in search of relief. There, in the cobblestoned medina of Marrakech, she finds a toddler in a pink jacket whose face mirrors her own. With the help of her boyfriend and a bribed official, Shannon makes the fateful decision to adopt and raise the girl in Louisville, Kentucky. But the girl already has a mother: Souria, an undocumented Mauritanian woman who was trafficked as a teen, and who managed to escape to Morocco to build another life. In rendering Souria's separation from her family across vast stretches of desert and Shannon's alienation from her mother under the same roof, Jacinda Townsend brilliantly stages cycles of intergenerational trauma and healing. Linked by the girl who has been a daughter to them both, these unforgettable protagonists move toward their inevitable reckoning. Mother Country is a bone-deep and unsparing portrayal of the ethical and emotional claims we make upon one another in the name of survival, in the name of love.

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The fifteenth volume in the Art of series takes an expansive view of revision-on the page and in life In The Art of Revision: The Last Word, Peter Ho Davies takes up an often discussed yet frequently misunderstood subject. He begins by addressing the invisibility of revision-even though it's an essential part of the writing process, readers typically only see a final draft, leaving the practice shrouded in mystery. To combat this, Davies pulls examples from his novels The Welsh Girl and The Fortunes, as well as from the work of other writers, including Flannery O'Connor, Carmen Machado, and Raymond Carver, shedding light on this slippery subject. Davies also looks beyond literature to work that has been adapted or rewritten, such as books made into films, stories rewritten by another author, and the practice of retconning in comics and film. In an affecting frame story, Davies recounts the story of a violent encounter in his youth, which he then retells over the years, culminating in a final telling at the funeral of his father. In this way, the book arrives at an exhilarating mode of thinking about revision-that it is the writer who must change, as well as the writing. The result is a book that is as useful as it is moving, one that asks writers to reflect upon themselves and their writing.

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The More Extravagant Feast focuses on the trophic exchanges of a human body with the world via pregnancy, motherhood, and interconnection-the acts of making and sustaining other bodies from one's own, and one's own from the larger world. Leah Naomi Green writes from attentiveness to the vast availability and capacity of the weedy, fecund earth and from her own human place within more-than-human life, death, and birth. Lyrically and spiritually rich, striving toward honesty and understanding, The More Extravagant Feast is an extraordinary book of awareness of our dependency on ecological systems-seen and unseen.

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