Search results for ""Milkweed Editions""

The formative years of Milkweed Editions – a story told by its cofounder. In the 1970s and ‘80s, as major New York publishing houses were consolidating and growing ever larger, small nonprofit presses and journals emerged. With a variety of missions, literary, social, political, these small publishers shared a desire to prioritize quality over quantity. One was Milkweed Chronicle, the literary and visual arts journal launched in 1980 by writer Emilie Buchwald and artist R.W. Scholes in Minneapolis that would become Milkweed Editions A Milkweed Chronicle is the first-person account by cofounder Emilie Buchwald of how the journal morphed into an award-winning nonprofit literary press. It is the story of writers who established Milkweed’s reputation for excellence in poetry, fiction, and nonfiction—and especially, by the mid-1990s, in books about the natural world. And it is also the story of the editors and staff who established and first achieved Milkweed’s mission of publishing transformative literature.

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Bright Dead Things examines the chaos that is life, the dangerous thrill of living in a world you know you have to leave one day, and the search to find something that is ultimately "disorderly, and marvelous, and ours." A book of bravado and introspection, of 21st century feminist swagger and harrowing terror and loss, this fourth collection considers how we build our identities out of place and human contact--tracing in intimate detail the various ways the speaker's sense of self both shifts and perseveres as she moves from New York City to rural Kentucky, loses a dear parent, ages past the capriciousness of youth, and falls in love. Limon has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a "huge beating genius machine" striving to embrace and understand the fullness of the present moment. "I am beautiful. I am full of love. I am dying," the poet writes. Building on the legacies of forebears such as Frank O'Hara, Sharon Olds, and Mark Doty, Limon's work is consistently generous and accessible--though every observed moment feels complexly thought, felt, and lived.

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“Deep down, there is just something that draws us to the land, to wild places. We were there to listen to the land.”When National Geographic Adventurers of the Year Amy and Dave Freeman marry, they set out on an unusual honeymoon: a three-year, 12,000-mile journey across North America. From Alaska’s Inside Passage to Florida’s Key West, they traverse the continent by kayak, canoe, dogsled, and skis, encountering wildlife, sublime landscapes, and harrowing challenges.Along the way, the Freemans also bear witness to environmental degradation and climate change—from plastic-covered beaches to forest fires to retreating glaciers. And as they engage with Native and rural communities most impacted by the changes resulting from modern industrial society and meet individuals and organizations dedicated to protecting the natural world, their adventure deepens in ways they never imagined.From the white-knuckle rush of paddling white wa

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Short Film Starring My Beloved’s Red Bronco, selected by Tyehimba Jess for the 2022 Ballard Spahr Prize for Poetry, is an aching tribute to the power and precarity of queer love. In small-town Mississippi, before the aughts, a child “assigned ‘woman’” and a boy “forced to call / himself a girl” love one another—from afar, behind closed doors, in motels. The child survives an injurious mother and the beast-shaped men she brings home; the boy becomes a soldier. Years later, the boy—the eponymous beloved, Missy—dies by suicide, kicking up a riptide of memory. This is where K. Iver writes, at the confluence of love poem and elegy. “I say to the water if you were here, / you’d be here.” With cinematic precision, they conjure dorm-room landlines, the lingering sweetness of shared candy, a ballet strap and “soft / fingers tracing it, afraid to touch / the skin.” They punctuate depictions of familial abuse and the cruel politics of the Deep South with fairy tales: a girl who endures abuse refusing to grow into a mother who inflicts it herself, queer youth kissing fearlessly, bodies transcending the violence of a reductive gender binary. In these fantasies, “there’s no / reason to leave town no hidden / torches waiting for us to fall asleep.” Short Film Starring My Beloved’s Red Bronco sees us through a particular kind of grief—one so relentless, it’s precious. It presses us, also, to continue advocating for a world in which queer love fantasies become reality and queer love poems “swaddle the impossible / contours of joy.”

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An exquisite and humane collection set to leave its mark on American poetics of the body and the body politic. In Footnotes in the Order of Disappearance, Fady Joudah has written love poems to the lovely and unlovely, the loved and unloved. Here he celebrates moments of delight and awe with his wife, his mentors, his friends, and the beauty of the natural world. Yet he also finds tenderness for the other, the dead, and the disappeared, bringing together the language of medicine with the language of desire in images at once visceral and vulnerable. A symptomatic moon. A peach, quartered like a heart, and a heart, quartered like a peach. “I call the finding of certain things loss.” Joudah is a translator between the heart and the mind, the flesh and the more-than-flesh, the word body and the world body—and between languages, with a polyglot’s hyperresonant sensibility. In “Sagittal Views,” the book’s middle section, Joudah collaborates with Golan Haji, a Kurdish Syrian writer, to foreground the imaginative act of constructing memory and history. Together they mark the place the past occupies in the body, the cut that “runs deeper than speech.” Generous in its scope, inventive in its movements and syntax, Footnotes in the Order of Disappearance is a richly rewarding and indispensable collection.

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“My language was born among trees,it holds the taste of earth;my ancestors’ tongue is my home.”—from “The Old Song of the Blood”A legacy of land and language courses through the pages of this spirited bilingual edition, offering an expansive take on the internationally renowned work of Humberto Ak’abal, a K’iche’ Maya poet born in the western highlands of Guatemala.Featuring both Ak’abal’s Spanish translations from the indigenous K’iche’ and English translations by acclaimed poet Michael Bazzett, this collection blossoms from the landscape of Momostenango—mountains covered in cloud forest, deep ravines, terraced fields of maize. Ak’abal’s unpretentious verse models a contraconquista—counter-conquest—perspective, one that resists the impulse to i

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An aching meditation on the cyclical nature of grief and memory’s limited capacity to preserve everything time takes from us.How does one make sense of loss—personal and collective? When language and memory are at capacity, where do we turn? Confronted with “a year meant to end all / those to come,” acclaimed poet Adam Clay questions whether anything is “wide enough to contain what’s left / of hope.” In the absence of a clear way forward, the poems of Circle Back wander grief’s strange and winding path. Along the way, the line between reality and dreams blurs: cows stare with otherworldly eyes, 78s play under cactus needles, a father becomes his own child, and the dead become something more complicated—a “sketch turned to painting / left in a room dusty from / lack of passing through.”But amidst these liminal landscapes, a “thread of pro

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As a farmer with decades spent working in fields, Scott Chaskey has been shaped by daily attention to the earth. A leader in the international Community Supported Agriculture (CSA) movement, he has combined a longstanding commitment to food sovereignty and organic farming with a belief that humble attention to microbial life and diversity of species provides invaluable lessons for building healthy human communities. Along the way, even while planning rotations of fields, ordering seeds, tending to crops and their ecosystems, Chaskey was writing. And in this lively collection of essays, he explores the evolution of his perspective—as a farmer and as a poet. Tracing the first stage in his development back to a homestead in Maine, on the ancestral lands of the Abenaki, he recalls learning to cultivate plants and nourish reciprocal relationships among species, even as he was reading Yeats and beginning to write poems. He describes cycling across Ireland, a surprise meeting with Seamus Heaney, and, later, farming in Cornwall’s ancient landscape of granite, bramble, and windswept trees. He travels to China for an international conference on Community Supported Agriculture, reading ancient wilderness poetry along the way, and then on to the pueblo of Santa Clara in New Mexico, where he joins a group of Indigenous women harvesting amaranth seeds. Closer to home on the Southfork of Long Island, he describes planting redwood saplings and writing verse under the canopy of an American beech.“Enlivened by decades of work in open fields washed by the salt spray of the Atlantic”—words that describe his prose as well as his vision of connectedness—Scott Chaskey has given us a book for our time. A seed of hope and regeneration.

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In The Wanting Way, the second book in Multiverse—a literary series written and curated by the neurodivergent—Adam Wolfond proves more than willing to “extend the choreography.”In fact, his entire thrust is out and toward. Each poem moves out along its own underutilized pathway, awakening unseen dimensions for the reader like a wooded night walk suddenly lit by fireflies. And as each path elaborates itself, Wolfond’s guiding hand seems always to stay held out to the reader, inviting them further into a shared and unprecedented unfolding. The Wanting Way is actually a confluence of diverse ways—rallies, paths, waves, jams, streams, desire lines—that converge wherever the dry verbiage of the talking world requires hydration. Each poem is an invitation to bathe in the play of languaging. And each poem is an invitation to a dance that’s already happening, called into motion by the objects and atmospheres of a more-than-human world. Wolfond makes space for new poetics, new choreographies, and new possibilities toward forging a consensual—felt and feeling—world where we might find free disassembly and assembly together. There is a neurodivergent universe within this one, and Wolfond’s poems continuously pull back the unnecessary veil between human and nature.

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Winner of the Max Ritvo Poetry Prize, The Milk Hours is an elegant debut that searches widely to ask what it means to exist in a state of loss.“We lived overlooking the walls overlooking the cemetery.” So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy. These are poems of frequent swerves and transformations, which never stray far from an engagement with science, geography, art, and aesthetics, nor from the dream logic that motivates their incessant investigations.Indeed, while John James begins with the biographical—the haunting loss of a father in childhood, the exhausted hours of early fatherhood—the questions that emerge from his poetic synthesis are both timely and universal: what is it to be human in an era where nature and culture have fused? To live in a time of political and environmental upheaval, of both personal and public loss? How do we make meaning, and to whom—or what—do we turn, when such boundaries so radically collapse?

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Selected by Jos Charles as the winner of the 2021 Ballard Spahr Prize for Poetry, Return Flight is a lush reckoning: with inheritance, with body, with trauma, with desire—and with the many tendons in between. When Return Flight asks “what name / do you crown yourself,” Huang answers with many. Textured with mountains—a folkloric goddess-prison, Yushan, mother, men, self—and peppered with shapeshifting creatures, spirits, and gods, the landscape of Jennifer Huang’s poems is at once mystical and fleshy, a “myth a mess of myself.” Sensuously, Huang depicts each of these not as things to claim but as topographies to behold and hold. Here, too, is another kind of mythology. Set to the music of “beating hearts / through objects passed down,” the poems travel through generations—among Taiwan, China, and America—cataloging familial wounds and beloved stories. A grandfather’s smile shining through rain, baby bok choy in a child’s bowl, a slap felt decades later—the result is a map of a present-day life, reflected through the past. Return Flight is a thrumming debut that teaches us how history harrows and heals, often with the same hand; how touch can mean “purple” and “blue” as much as it means intimacy; and how one might find a path toward joy not by leaving the past in the past, but by “[keeping a] hand on these memories, / to feel them to their ends.”

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Winner of the 2021 Kate Tufts Discovery Award Winner of a 2020 Whiting Award in Poetry Finalist for the 2020 Lambda Literary Award in Gay Poetry Selected by Kathy Fagan as a winner of the 2018 National Poetry Series, Eyes Bottle Dark with a Mouthful of Flowers is a debut collection of poems by a dazzling geologist of queer eros. Drunktown, New Mexico, is a place where men “only touch when they fuck in a backseat.” Its landscape is scarred by violence: done to it, done on it, done for it. Under the cover of deepest night, sleeping men are run over by trucks. Navajo bodies are deserted in fields. Resources are extracted. Lines are crossed. Men communicate through beatings, and football, and sex. In this place, “the closest men become is when they are covered in blood / or nothing at all.” But if Jake Skeets’s collection is an unflinching portrait of the actual west, it is also a fierce reclamation of a living place—full of beauty as well as brutality, whose shadows are equally capable of protecting encounters between boys learning to become, and to love, men. Its landscapes are ravaged, but they are also startlingly lush with cacti, yarrow, larkspur, sagebrush. And even their scars are made newly tender when mapped onto the lover’s body: A spine becomes a railroad. “Veins burst oil, elk black.” And “becoming a man / means knowing how to become charcoal.” Rooted in Navajo history and thought, these poems show what has been brewing in an often forgotten part of the American literary landscape, an important language, beautiful and bone dense. Sculptural, ambitious, and defiantly vulnerable, the poems of Eyes Bottle Dark with a Mouthful of Flowers are coal that remains coal, despite the forces that conspire for diamond, for electricity. Additional recognition: Named a “Best Poetry Book of 2019” by Electric Literature, Entropy Mag, and Auburn Avenue Named a “Favorite Book of 2019” by Lit Hub Named a “Best Queer Book of 2019” by BuzzFeed and Book Marks

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Selected by Kazim Ali as a winner of the 2019 National Poetry Series, Thrown in the Throat “gloriously stakes new territory in queerness.”Finalist for the 2022 Kate Tufts Discovery AwardA Boston Globe Best Book of 2020A Lambda Literary “Most Anticipated LGBTQ Book” of August 2020Named a “Must-Read Poetry Collection” of August 2020 by The Millions“Tongues make mistakes / and mistakes / make languages.” And Benjamin Garcia makes a stunning debut with Thrown in the Throat. In a sex-positive incantation that retextures what it is to write a queer life amidst troubled times, Garcia writes boldly of citizenship, family, and Adam Rippon’s butt. Detailing a childhood spent undocumented, one speaker recalls nights when “because we cannot sleep / we dream with open eyes.” Garcia delves with both English and Spanish into how one survives a country’s long love affair with anti-immigrant cruelty. Rendering a family working to the very end to hold each other, he writes the kind of family you both survive and survive with.With language that arrives equal parts regal and raucous, Thrown in the Throat shines brilliant with sweat and an iridescent voice. “Sometimes even a diamond was once alive” writes Garcia in a collection that National Poetry Series judge Kazim Ali says “has deadly superpowers.” And indeed these poems arrive to our hands through touch-me-nots and the slight cruelty of mothers, through closets both real and metaphorical. These are poems complex, unabashed, and needed as survival. Garcia’s debut is nothing less than exactly the ode our history and present and our future call for: brash and unmistakably alive.

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A 2023 Firecracker Award FinalistAn Apple November 2022 Best Book of the Month“Birds are my almanac. They tune me into the seasons, and into myself.”So begins this lively collection of essays by acclaimed filmmaker and novelist Priyanka Kumar. Growing up at the feet of the Himalayas in northern India, Kumar took for granted her immersion in a lush natural world. After moving to North America as a teenager, she found herself increasingly distanced from more than human life and discouraged by the civilization she saw contributing to its destruction. It was only in her twenties, living in Los Angeles and working on films, that she began to rediscover her place in the landscape—and in the cosmos—by way of watching birds.Tracing her movements across the American West, this stirring collection of essays brings the avian world richly to life. Kumar’s perspective is not that of a list keeper, counting and cataloguing species. Rather, from the mango-colored western tanager that rescues her from a bout of altitude sickness in Sequoia National Park to ancient sandhill cranes in the Bosque del Apache National Wildlife Refuge, and from the snowy plovers building shallow nests with bits of shell and grass to the white-breasted nuthatch that regularly visits the apricot tree behind her family’s casita in Santa Fe, for Kumar, birds “become a portal to a more vivid, enchanted world.”At a time when climate change, habitat loss, and the reckless use of pesticides are causing widespread extinction of species, Kumar’s reflections on these messengers from our distant past and harbingers of our future offer luminous evidence of her suggestion that “seeds of transformation lie dormant in all of our hearts. Sometimes it just takes the right bird to awaken us.”

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

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FINALIST FOR THE PULITZER PRIZE IN GENERAL NONFICTIONWINNER OF THE NATIONAL OUTDOOR BOOK AWARDA CHICAGO TRIBUNE TOP TEN BOOK OF 2018A GUARDIAN, NPR’s SCIENCE FRIDAY, PUBLISHERS WEEKLY, AND LIBRARY JOURNAL BEST BOOK OF 2018Hailed as “deeply felt” (New York Times), “a revelation” (Pacific Standard), and “the book on climate change and sea levels that was missing” (Chicago Tribune), Rising is both a highly original work of lyric reportage and a haunting meditation on how to let go of the places we love.With every passing day, and every record-breaking hurricane, it grows clearer that climate change is neither imagined nor distant—and that rising seas are transforming the coastline of the United States in irrevocable ways. In Rising, Elizabeth Rush guides readers through some of the places where this change has been most dramatic, from the Gulf Coast to Miami, and from New York City to the Bay Area. For many of the plants, animals, and humans in these places, the options are stark: retreat or perish in place.Weaving firsthand testimonials from those facing this choice—a Staten Islander who lost her father during Sandy, the remaining holdouts of a Native American community on a drowning Isle de Jean Charles, a neighborhood in Pensacola settled by escaped slaves hundreds of years ago—with profiles of wildlife biologists, activists, and other members of these vulnerable communities, Rising privileges the voices of those too often kept at the margins.In a new afterword for the paperback edition, Rush highlights questions of storytelling, adaptability, and how to powerfully shift conversation around ongoing climate change—including the storms of 2017 and 2018: Hurricanes Harvey, Maria, Irma, Florence, and Michael.

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"In me, there is the red of miry clay, the brown of spring floods, the gold of ripening tobacco. All of these hues are me; I am, in the deepest sense, colored.” From these fertile soils of love, land, identity, family, and race emerges The Home Place, a big-hearted, unforgettable memoir by ornithologist and professor of ecology J. Drew Lanham.Dating back to slavery, Edgefield County, South Carolina—a place "easy to pass by on the way somewhere else"—has been home to generations of Lanhams. In The Home Place, readers meet these extraordinary people, including Drew himself, who over the course of the 1970s falls in love with the natural world around him. As his passion takes flight, however, he begins to ask what it means to be "the rare bird, the oddity.”By turns angry, funny, elegiac, and heartbreaking, The Home Place is a remarkable meditation on nature and belonging, at once a deeply moving memoir and riveting exploration of the contradictions of black identity in the rural South—and in America today.

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Midway through the journey of his life, Dan Beachy-Quick found himself without a path, unsure how to live well. Of Silence and Song follows him through the forest of his experience, on a classical search for meaning in the world and in his particular, quiet life.In essays, fragments, marginalia, images, travel writing, and poetry, Beachy-Quick traces relationships and the identities through which he sees the world. As father and husband. As teacher and student. As citizen and scholar. And as poet and reader, wondering at the potential and limits of literature, and guided by his studies in ancient Greek.Of Silence and Song finds its inferno—and its paradise—in moments both historically vast and nakedly intimate. Our world’s disappearing bees, James Eagan Holmes, Columbine, and the persistent, unforgivable crime of slavery—these are the circles of hell Beachy-Quick wanders, but cannot escape. And yet he encounters redemption in the art of Marcel Duchamp, the pressed flowers in Emily Dickinson’s Bible, and long walks with his youngest daughter, Iris. “The litany in hell is weeping, weeping,” he writes, “but there are other litanies.”Curious, earnest, and masterful, Of Silence and Song is an unforgettable exploration of the human soul.

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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 Vulture 2023 Best Book of the Year“I was in the car the first time music seemed strange: the instruments less distinct, the vocals less crisp.” John Cotter was thirty years old when he first began to notice a ringing in his ears. Soon the ringing became a roar inside his head. Next came partial deafness, then dizziness and vertigo that rendered him unable to walk, work, sleep, or even communicate. At a stage of life when he expected to be emerging fully into adulthood, teaching and writing books, he found himself “crippled and dependent,” and in search of care. When he is first told that his debilitating condition is likely Ménière’s Disease, but that there is “no reliable test, no reliable treatment, and no consensus on its cause,” Cotter quits teaching, stops writing, and commences upon a series of visits to doctors and treatment centers. What begins as an expedition across the country navigating and battling the limits of the American healthcare system, quickly becomes something else entirely: a journey through hopelessness and adaptation to disability. Along the way, hearing aids become inseparable from his sense of self, as does a growing understanding that the possibilities in his life are narrowing rather than expanding. And with this understanding of his own travails comes reflection on age-old questions around fate, coincidence, and making meaning of inexplicable misfortune. A devastating memoir that sheds urgent, bracingly honest light on both the taboos surrounding disability and the limits of medical science, Losing Music is refreshingly vulnerable and singularly illuminating—a story that will make readers see their own lives anew.

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A June 2023 Indie Next Pick, Selected by BooksellersA Minneapolis Star Tribune Recommended Fiction Read for 2023A Millions Most Anticipated Read for 2023A Library Journal Recommended Read for 2023A Motherly Best Book of 2023From the award-winning author of Perma Red comes a devastatingly beautiful novel that challenges prevailing historical narratives of Sacajewea.“In my seventh winter, when my head only reached my Appe’s rib, a White Man came into camp. Bare trees scratched sky. Cold was endless. He moved through trees like strikes of sunlight. My Bia said he came with bad intentions, like a Water Baby’s cry.”Among the most memorialized women in American history, Sacajewea served as interpreter and guide for Lewis and Clark’s Corps of Discovery. In this visionary novel, acclaimed Indigenous author Debra Magpie Earling brings this mythologized figure vividly to life, casting unsparing light on the men who brutalized her and recentering Sacajewea as the arbiter of her own history.Raised among the Lemhi Shoshone, in this telling the young Sacajewea is bright and bold, growing strong from the hard work of “learning all ways to survive”: gathering berries, water, roots, and wood; butchering buffalo, antelope, and deer; catching salmon and snaring rabbits; weaving baskets and listening to the stories of her elders. When her village is raided and her beloved Appe and Bia are killed, Sacajewea is kidnapped and then gambled away to Charbonneau, a French Canadian trapper.Heavy with grief, Sacajewea learns how to survive at the edge of a strange new world teeming with fur trappers and traders. When Lewis and Clark’s expedition party arrives, Sacajewea knows she must cross a vast and brutal terrain with her newborn son, the white man who owns her, and a company of men who wish to conquer and commodify the world she loves.Written in lyrical, dreamlike prose, The Lost Journals of Sacajewea is an astonishing work of art and a powerful tale of perseverance—the Indigenous woman’s story that hasn’t been told.

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It is 2027. August Helm is thirty years old. A biochemist working in a lab at the University of Chicago, he is swept off his feet by the beautiful and entirely self-assured Amanda Clark. Animated by August’s consuming desire, their relationship quickly becomes intimate. But when he stumbles across a liaison between the director of his lab and a much younger student, his position is eliminated and his world upended.August sets out to visit his parents in Words, an unincorporated village in the heart of Wisconsin’s Driftless Area. Here, he reconnects with several characters from his past: Ivan Bookchester, who now advocates for “new ways of living” in an age of decline; Hanh, formerly known as Jewelweed, who tends her orchard and wild ginseng, keenly attuned to new patterns of migration resulting from climate change and habitat destruction; and Lester Mortal, the aging veteran and fierce pacifist who long ago rescued her from Vietnam. Together, the old friends fall back into a familiar closeness.But much as things initially seem unchanged in the Driftless, when August is hired to look after Tom and April Lux’s home in Forest Gate, he finds himself in the midst of an entirely different social set, made up of wealthy homeowners who are mostly resented by the poorer surrounding communities, and distanced in turn by their fear of the locals. August soon falls head over heels for April, and different versions of his self collide: one in which the past is still present in tensions and dreams, another in which he understands his desire as genetically determined and chemically induced, and then a vaguely hoped-for future with April. When Lester is diagnosed with liver cirrhosis, Ivan comes clean on a ghastly past episode, and April makes a shocking revelation, a series of events ensues that will change all involved forever. As approachable as it is profound in exploring the human condition and our shared need for community, this is a story for our times.

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Finalist for the 2022 National Book Critics Circle Award in TranslationTranslated from the Arabic and introduced by Fady Joudah, You Can Be the Last Leaf draws on two decades of work to present the transcendent and timely US debut of Palestinian poet Maya Abu Al-Hayyat. Art. Garlic. Taxis. Sleepy soldiers at checkpoints. The smell of trash on a winter street, before “our wild rosebush, neglected / by the gate, / blooms.” Lovers who don’t return, the possibility that you yourself might not return. Making beds. Cleaning up vomit. Reading recipes. In You Can Be the Last Leaf, these are the ordinary and profound—sometimes tragic, sometimes dreamy, sometimes almost frivolous—moments of life under Israeli occupation. Here, private and public domains are inseparable. Desire, loss, and violence permeate the walls of the home, the borders of the mind. And yet that mind is full of its own fierce and funny voice, its own preoccupations and strangenesses. “It matters to me,” writes Abu Al-Hayyat, “what you’re thinking now / as you coerce your kids to sleep / in the middle of shelling”: whether it’s coming up with “plans / to solve the world’s problems,” plans that “eliminate longing from stories, remove exhaustion from groans,” or dreaming “of a war / that’s got no war in it,” or proclaiming that “I don’t believe in survival.” In You Can Be the Last Leaf, Abu Al-Hayyat has created a richly textured portrait of Palestinian interiority—at once wry and romantic, worried and tenacious, and always singing itself.

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“Offering a deeply necessary, clear-eyed look at who we are as flesh-and-bone bodies during the climate crisis, this is a book that searches and finds meaning in both the hard truths and the value of wonder.”—Ada LimónIn this luminous collection of essays, Ellen Wayland-Smith probes the raw edges of human existence, those periods of life in which our bodies remind us of our transience and the boundaries of the self dissolve.From the Old Testament to Maggie Nelson, these explorations are grounded in a rich network of associations. In an essay on the postpartum body, Wayland-Smith interweaves her experience as a mother with accounts of phantom limbs and Greek mythology to meditate on moments when pieces of our being exist outside our bodies. In order to comprehend diagnoses of depression and breast cancer, she delves into LA hippie culture’s love affair with crystals and Emily Dickinson

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An NPR Best Book of the YearWinner of the CLMP Firecracker Award in Creative Nonfiction“The Quickening is a book of hope.”—Elizabeth Kolbert, author of Under a White SkyAn astonishing, vital work about Antarctica, climate change, and community.In 2019, fifty-seven scientists and crew set out onboard the Nathaniel B. Palmer. Their destination: the ominous Thwaites Glacier at Antarctica’s western edge. Their goal: to learn as much as possible about this mysterious place, never before visited by humans. And with them is author Elizabeth Rush, who seeks, among other things, the elusive voice of the ice.Rush shares her story of a groundbreaking voyage punctuated by both the sublime—the tangible consequences of our melting icecaps; the staggering waves of the Drake Passage; the torqued, unfamiliar contours of Thwaites—and the everyday moments of living and working in community. A ping

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In the 15 years since this book came out, Marilyn Chin has been widely recognized as a consummate poet of the hybrid experience, blending East and West, popular and high culture, personal and political. Praised for its streetwise lyricism, this groundbreaking volume captures a young immigrant woman's perspective as she encounters the nexus of tradition and commercialism in modern, diverse, and urban California. With this new edition, a modern classic is reintroduced to a new generation of readers.

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Born and raised with the kind of expectations that often accompany privilege, Jim Lenfestey approached his thirtieth birthday in a state of acute anxiety. A young family and a demanding work life on one hand, and a burgeoning love for poetry on the other. When an independent bookseller discerns Lenfestey's difficulties, and prescribes for a remedy the poems of a Chinese hermit named Han Shan, Lenfestey's life is changed forever. After "swallowing the poems like aspirin" for the next thirty years, a spirited embrace of this ancient poet called Cold Mountain--the poet he has come to see as a guiding light in his life--prompts Lenfestey to travel to China on a pilgrim's search for his cave. Along the way, this quest takes our author first to Tokyo, where he visits with the foremost translator and scholar of eastern poetry, Burton Watson, and from there across China, from the enormous chanting hall of ten thousand Buddhas in Bailin Temple to the birthplace of Confucius. A singular combination of travel writing, memoir, translation, and poetry, Seeking the Cave is both deeply personal and universally illuminating. "Uniting our brief literary life with the ancient richness of Chinese culture" (Robert Bly), this extraordinary book evokes the transformative power of poetry, and the way it breathes meaning into our lives.

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Since its establishment as a federally protected wilderness in 1964, the Boundary Waters has become one of our nation’s most valuable—and most frequently visited—natural treasures. When Amy and Dave Freeman learned of toxic mining proposed within the area’s watershed, they decided to take action—by spending a year in the wilderness, and sharing their experience through video, photos, and blogs with an audience of hundreds of thousands of concerned citizens. This book tells the deeper story of their adventure in northern Minnesota: of loons whistling under a moonrise, of ice booming as it forms and cracks, of a moose and her calf swimming across a misty lake. With the magic—and urgent—message that has rallied an international audience to the campaign to save the Boundary Waters, A Year in the Wilderness is a rousing cry of witness activism, and a stunning tribute to this singularly beautiful region.

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For eons, female members of the Porcupine caribou herd have made the journey from their winter feeding grounds to their summer calving grounds—which happen to lie on vast reserves of oil. They once roamed borderless wilderness; now they trek from Canada, where they’re protected, to the United States, where they are not. In April 2003, wildlife biologist Karsten Heuer and filmmaker Leanne Allison set out with the Porcupine caribou herd. Walking along with the animals over four mountain ranges, through hundreds of passes, and across dozens of rivers—a thousand-mile journey altogether, from the Yukon Territory to the Arctic National Wildlife Refuge and then back again—they reached a new understanding of what is at stake in the debate over drilling for oil. More than a tale of grand adventure or an activist tract, however, Being Caribou is a “gripping, cinematic tale” (Los Angeles Times) with the “bite of a political tract” (Washington Post) about the power of wilderness and how it returns us to the roots of human instinct. On the caribou’s trail Heuer and Allison learn what is possible when two people immerse themselves in the uniquely wild experience of migration, discovering in the process a different way of being.

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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 Remind Me Again What Happened and 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), Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic), and

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A haunting collection that inhabits a disquieting future where fear is the governing body, “the organ and the tissue / and the cell, the membrane and the organelle.” “Once there were oarfish, opaleyes, olive flounders. Once the oxbows were not overrun with nitrogen.” Part requiem, part bedtime story, Meltwater narrates the awful possibility of doom as well as the grim temptation to numb ourselves to it. Prose poems melt into erasures, erasures swell into lush catalogs. Within this formal ebb and flow, Claire Wahmanholm explores both abundance and annihilation, giving shape and music to our shared human anxieties. What does it mean to bring children into a world like this one? A world where grenades are “the only kind of fruit we can still name”? Where “lightning can strike over / and over without boredom or belief and nothing / is saved”? Where losses, both ecological and personal, proliferate endlessly? Here, a parent’s joy is accompanied by the gnaw of remorse. And yet, Wahmanholm recognizes, children bind us to the world—to its missiles and marvels, to the possibility that there is indeed grace worth “suffer[ing] the empty universe for.”If we are going to worry, let us also at least wonder. If we are going to be seized by terror, let us also be “seized by the topaz sky and the breeze through it.” A glittering, kinetic testament to vanishing—of biodiversity, of climate stability, of a sense of safety—Meltwater is both vindication and balm.

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Telescopes aim to observe the light of the cosmos, but Christopher Brean Murray turns his powerful lens toward the strange darkness of human existence in Black Observatory, selected by Dana Levin as winner of the Jake Adam York Prize. With speakers set adrift in mysterious settings—a motel in the middle of a white-sand desert, a house haunted by the ghost of a dead writer, an abandoned settlement high in the mountains, a city that might give way to riotous forest—Black Observatory upends the world we think we know. Here, an accident with a squirrel proves the least bizarre moment of a day that is ordinary in outline only. The future is revealed in a list of odd crimes-to-be. And in a field of grasses, a narrator loses himself in a past and present “human conflagration / of desire and doubt,” the “path to a field of unraveling.”Unraveling lies at the heart of these poems. Murray picks at the frayed edges of everyday life, spinning new threads and weaving an uncanny and at times unnerving tapestry in its place. He arranges and rearranges images until the mundane becomes distorted: a cloud “stretches and coils and becomes an intestine / embracing the anxious protagonist,” thoughts “leap from sagebrush / like jackrabbits into your high beams,” a hot black coffee tastes “like runoff from a glacier.” In the process, our world emerges in surprising, disquieting relief.Simultaneously comic and tragic, playful and deeply serious, Black Observatory is a singular debut collection, a portrait of reality in penumbra.

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Winner of the 2020 Max Ritvo Poetry Prize, The Clearing navigates the ever-shifting poles of violence and vulnerability with rich imagination and a singular incisiveness, “asserting feminist viewpoints and mortal terror in lush musical lines” (New York Times). The women in Allison Adair’s debut collection—luminous and electric from the first line to the last—live in places that have been excavated for gold and precious ores. They understand the nature of being hollowed out, of being “the planet’s stone / core as it tries to carve out one secret place and fails.” And so, as these poems take us from the midst of the Civil War to our current era, they chart fairy tales that are at once unsettling and painfully familiar, never forgetting that cruelty compels us to search for tenderness. “What if this time,” they ask, “instead of crumbs the girl drops / teeth, her own, what else does she have.” Adair sees the dirt beneath our nails, both alone and as a country, and pries it gently loose until we remember something of who we are, “from before . . . from a similar injury or kiss.” There is a dark tension in this work, and its product is wholly “an alchemical feat, turning horror into beauty” (Boston Globe).

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WINNER OF THE MILKWEED PRIZE FOR CHILDREN'S LITERATURE WINNER OF THE 2013 PATERSON PRIZE FOR BOOKS FOR YOUNG READERS ALA RAINBOW LIST RECOMMENDED BOOK AMELIA BLOOMER PROJECT LIST RECOMMENDED BOOK LAMBDA LITERARY AWARD FINALIST MINNESOTA BOOK AWARD FINALIST FOREWARD REVIEWS BOOK OF THE YEAR HONORABLE MENTION In the summer of 1926, sixteen-year-old Garnet Richardson is sent to a lake resort to escape the polio epidemic in the city. She dreams of indulging in ornithology and a visit to an amusement park--a summer of fun before she returns to a last year of high school, marriage, and middle-class homemaking. But in the country, Garnet finds herself under supervision of oppressive guardians, her father's wealthy cousin and the matron's stuck-up daughter. Only a job in a hat shop, an intense, secret relationship with a beautiful flapper, and a deep faith in her own heart can save her from the suffocation of traditional femininity in this coming-of-age story about a search for both wildness and security in an era full of unrest. It is the tale of a young woman's discovery of the science of risk and the art of rebellion, and, of course, the power of unexpected love.

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Somewhere between elegy and memoir, poetry and prose, Ed Pavlić’s Call It in the Air follows the death of a sister into song.Pavlić’s collection traces the life and death of his elder sister, Kate: a brilliant, talented, tormented woman who lived on her own terms to the very end. Kate’s shadow hovers like a penumbra over these pages that unfold a kaleidoscope of her world. A small-town apartment full of “paintings & burritos & pyramid-shaped empty bottles of Patron & an ad hoc anthology of vibrators.” A banged-up Jeep, loose syringes underfoot, rattles under Colorado skies. Near an ICU bed, Pavlić agonizes over the most difficult questions, while doctors “swish off to the tune of their thin-soled leather loafers.” And a diary, left behind, brims with revelations of vulnerability nearly as great as Pavlić’s own.But Call It in the Air records more than a relationship between brother and sister, more than a moment of personal loss. “I sit while eleven bodies of mine fall all over the countless mysteries of who you are,” he writes, while “Somewhere along the way, heat blasting past us & out the open jeep, the mountain sky turned to black steel & swung open its empty mouth.” In moments like these, Pavlić recognizes something of his big sister everywhere.Rived by loss and ravaged by grief, Call It in the Air mingles the voices of brother and sister, one falling and one forgiven, to offer an intimate elegy that meditates on love itself.

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From Michael Bazzett, poet and translator of The Popol Vuh, a collection that explores the myth of Echo and Narcissus, offering a reboot, a remix, a reimagining. “Narcissus was never one to see himself // in moving water. // He liked his image / still.” In The Echo Chamber, myth is refracted into our current moment. A time traveler teaches a needleworker the pleasures of social media gratification. A man goes looking for his face and is first offered a latex mask. A book reveals eerie transmutations of a simple story. And the myth itself is retold, probing its most provocative qualities—how reflective waters enable self-absorption, the tragic rightness of Echo and Narcissus as a couple. The Echo Chamber examines our endlessly self-referential age of selfies and televised wars and manufactured celebrity, gazing lingeringly into the many kinds of damage it produces, and the truths obscured beneath its polished surface. In the process, Bazzett cements his status as one of our great poetic fools—the comedian who delivers uncomfortable silence, who sheds layers of disguises to reveal light underneath, who smuggles wisdom within “rage-mothered laughter.” Late-stage capitalism, history, death itself: all are subject to his wry, tender gaze. By turns searing, compassionate, and darkly humorous, The Echo Chamber creates an echo through time, holding up the broken mirror of myth to our present-day selves.

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What is illusion—a deception, or a revelation? What is a poem—the truth, or “a diverting flash, / a mirror showing everything / but itself”?Nicky Beer’s latest collection of poems is a labyrinthine academy specializing in the study of subterfuge; Marlene Dietrich, Dolly Parton, and Batman are its instructors. With an energetic eye, she thumbs through our collective history books—and her personal one, too—in an effort to chart the line between playful forms of duplicity and those that are far more insidious.Through delicious japery, poems that can be read multiple ways, and allusions ranging from Puccini’s operas to Law & Order, Beer troubles the notion of truth. Often, we settle for whatever brand of honesty is convenient for us, or whatever is least likely to spark confrontation—but this, Beer knows, is how we invite others to weigh in on what kind of person we are. This is how we trick ourselves into believing they’re right. “Listen / to how quiet it is when I lose the self-doubt played / for so long I mistook it for music.”Real Phonies and Genuine Fakes asks us to look through the stereoscope: which image is the real one? This one—or this one, just here? With wisdom, humility, and a forthright tenderness, Nicky Beer suggests that we consider both—together, they might contribute to something like truth.

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Kingsley Tufts Poetry Award FinalistA thoughtful new collection of poems, one that deconstructs the deceptively simple question of what it means to be good—a good person, a good citizen, a good teacher, a good poet, a good father. With These Trees, Those Leaves, This Flower, That Fruit, Hayan Charara presents readers with a medley of ambitious analyses, written in characteristically wry verse. He takes philosophers to task, jousts with academics, and scrutinizes hollow gestures of empathy, exposing the dangers of thinking ourselves “separate / from [our] thoughts and experiences.” After all, “No work of love / will flourish out of guilt, fear, or hollowness of heart.” But how do we act on fullness of heart? How, knowing as we do that “genocide is inscribed in our earliest and holiest texts”? Thoughtful but never preachy, Charara sits beside us, granting us access to life’s countless unglamorous dilemmas: crushing a spider when we promised we wouldn’t, nearing madness from a newborn’s weeping, resenting our lovers for what happened in a dream. “Good poems demand to be written from inside the poet,” we are reminded. And that is where we find ourselves here: inside a lively and ethical mind, entertained by Charara’s good company even as goodness challenges us to do more.

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“Pankey writes poems that give us back, if not the world, our relation to it.” —DAN BEACHY-QUICK Taking its name from the Roman goddess of wisdom and her companion bird, Owl of Minerva turns astonishingly precise attention to the physical world, scouring it for evidence of the spiritual as the poet travels through such places as Appalachia, New England, Venice, Spain, the Caribbean, and the American Midwest. Along the way, Pankey ponders mortality, religious narratives and iconography, the continued press of childhood on the present, and the simultaneous violence and beauty of the natural world. At the book’s core are three ambitious poems titled “The Complete List of Everything,” which together offer an extended vision of American longing and connection—as well as a window into the sort of compendium of images and moments a sustained devotion to poetry can yield. “The hope was to construct // A coherent totality of meaning from odds / And ends,” Pankey writes, and so much of this book is about the difficult work of constructing meaning from the available material all around us. This book is an extraordinary example of lyric-meditative journaling—a large and profound collection by a brilliant poet writing at the height of his powers.

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FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE LONGLISTED FOR THE NATIONAL BOOK AWARD A NEW YORKER BEST POETRY BOOK OF 2018 A VULTURE BEST POETRY BOOK OF 2018 A LIBRARY JOURNAL BEST BOOK OF 2018 Selected by Fady Joudah as a winner of the 2017 National Poetry Series, Jos Charles’s revolutionary second collection of poetry, feeld, is a lyrical unraveling of the circuitry of gender and speech, defiantly making space for bodies that have been historically denied their own vocabulary. “i care so much abot the whord i cant reed.” In feeld, Charles stakes her claim on the language available to speak about trans experience, reckoning with the narratives that have come before by reclaiming the language of the past. In Charles’s electrifying transliteration of English—Chaucerian in affect, but revolutionary in effect—what is old is made new again. “gendre is not the tran organe / gendre is yes a hemorage.” “did u kno not a monthe goes bye / a tran i kno doesnt dye.” The world of feeld is our own, but off-kilter, distinctly queer—making visible what was formerly and forcefully hidden: trauma, liberation, strength, and joy. Urgent and vital, feeld composes a new narrative of what it means to live inside a marked body.

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Kathryn Cowles’s Maps and Transcripts of the Ordinary World is a collection that lingers in memory and place, in the unsettled distance between reality and its transcriptions. “I take seven photographs turning / in a circle, a panorama, / but how will I place them hanging / on a wall back home? Something already slipping,” Cowles writes. These poems surround a central question: how much of a moment is captured by the mechanisms we use to describe it? How much of the shore, the birds, the feeling? In pursuit of an answer, Cowles leads readers through a sequence of distinct landscapes (islands, plains, mountains, oceans) with both traditional lyricism and the playful refrains of a speaker fixated on the dilemma of representation. “Holy photograph. Holy actual world. Equal sign equal sign equal sign.” Maps and Transcripts of the Ordinary World both puzzles over and embraces the valley between literature and lived experience. Along the way, Cowles’s language is light but recursive, rotating around beloved places: a new house, a garden, a seemingly endless plane ride, a battery-operated spit of lamb, a photograph of a battery-operated spit of lamb, dogs, Sue, Ohio. This collection defamiliarizes and refamiliarizes the “actual world,” while navigating toward the clear and substantial stuff of living. Arresting on both visual and textual levels, Maps and Transcripts of the Ordinary World is executed with the utmost intelligence, humility, and tenderness.

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Winner of the PEN/Diamonstein-Spielvogel Award for the Art of the EssayWinner of the 2022 Southern Book PrizeAn Indie Next Selection for September 2021A Book Marks Best Reviewed Essay Collection of 2021A Literary Hub Most Anticipated Book of 2021A Country Living Best Book of Fall 2021A Garden & Gun Recommended Read for Fall 2021A Book Marks Best Reviewed Book of September 2021For the past four years, Margaret Renkl’s columns have offered readers of The New York Times a weekly dose of natural beauty, human decency, and persistent hope from her home in Nashville. Now more than sixty of those pieces have been brought together in this sparkling new collection.“People have often asked me how it feels to be the ‘voice of the South,’” writes Renkl in her introduction. “But I’m not the voice of the South, and no one else is, either.” There are many Souths—red and blue, rural and urban, mountain and coast, Black and white and brown—and no one writer could possibly represent all of them. In Graceland, At Last, Renkl writes instead from her own experience about the complexities of her homeland, demonstrating along the way how much more there is to this tangled region than many people understand.In a patchwork quilt of personal and reported essays, Renkl also highlights some other voices of the South, people who are fighting for a better future for the region. A group of teenagers who organized a youth march for Black Lives Matter. An urban shepherd whose sheep remove invasive vegetation. Church parishioners sheltering the homeless. Throughout, readers will find the generosity of spirit and deep attention to the world, human and nonhuman, that keep readers returning to her columns each Monday morning.From a writer who “makes one of all the world’s beings” (NPR), Graceland, At Last is a book full of gifts for Southerners and non-Southerners alike.

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Winner of the 2022 Southern Book PrizeWinner of the PEN/Diamonstein-Spielvogel Award for the Art of the EssayAn Indie Next Selection for September 2021A Book Marks Best Reviewed Essay Collection of 2021A Literary Hub Most Anticipated Book of 2021A Country Living Best Book of Fall 2022A Garden & Gun Recommended Read for Fall 2021A Book Marks Best Reviewed Book of September 2021From the author of the bestselling #ReadWithJenna/TODAY Show book club pick Late Migrations: A Natural History of Love and LossFor the past four years, Margaret Renkl’s columns have offered readers of The New York Times a weekly dose of natural beauty, human decency, and persistent hope from her home in Nashville. Now more than sixty of those pieces have been brought together in this sparkling new collection.“People have often asked me how it feels to be the ‘voice of the South,’” writes Renkl in her introduction. “But I’m not the voice of the South, and no one else is, either.” There are many Souths—red and blue, rural and urban, mountain and coast, Black and white and brown—and no one writer could possibly represent all of them. In Graceland, At Last, Renkl writes instead from her own experience about the complexities of her homeland, demonstrating along the way how much more there is to this tangled region than many people understand.In a patchwork quilt of personal and reported essays, Renkl also highlights some other voices of the South, people who are fighting for a better future for the region. A group of teenagers who organized a youth march for Black Lives Matter. An urban shepherd whose sheep remove invasive vegetation. Church parishioners sheltering the homeless. Throughout, readers will find the generosity of spirit and deep attention to the world, human and nonhuman, that keep readers returning to her columns each Monday morning.From a writer who “makes one of all the world’s beings” (NPR), Graceland, At Last is a book full of gifts for Southerners and non-Southerners alike.

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Nau cannot remember a time when she was not one with the world around her: with the fast breeze, the green grass, the high clouds, and the endless blue sky above the Shingled Spit. But her greatest joy is to visit the sea, where whales gather every morning to gaily spout rainbows. Then, one day, she finds a man in the mist where a whale should be: Reu, who has taken human form out of his Great Love for her. Together these first humans become parents to two whales, and then to mankind. Even after Reu dies, Nau continues on, sharing her story of brotherhood between the two species. But as these origins grow more distant, the old woman’s tales are subsumed into myth—and her descendants turn increasingly bent on parading their dominance over the natural world. Buoyantly translated into English for the first time by Ilona Yazhbin Chavasse, this new entry in the Seedbank series is at once a vibrant retelling of the origin story of the Chukchi, a timely parable about the destructive power of human ego—and another unforgettable work of fiction from Yuri Rytkheu, “arguably the foremost writer to emerge from the minority peoples of Russia’s far north” (New York Review of Books).

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