"But there is wisdom/ in the hour in which a boy/ sits in his room listening," says the first poem, and Lee's silent willingness to step outside himself imbues Rose with a rare sensitivity. The images Lee finds, such as the rose and the apple, are repeated throughout the book, crossing over from his father's China to his own America. Every word becomes transformative, as even his father's blindness and death can become beautiful. There is a strong enough technique here to make these poems of interest to an academic audience and enough originality to stun readers who demand alternative style and subject matter. — Rochelle Ratner, formerly Poetry Editor, "Soho Weekly News," New York

    'Can't I be my own dream?' she asks. The answer is always yes and always no. With dizzying energy and intelligence, Zhang forages through familial, global, and even anatomical configurations vainly outlining an identity that manifests only to shift and move restlessly on. This book brings to mind a 21st century Whitman, only female, Chinese, and profoundly scatological."—Elizabeth RobinsonAuthor City: BROOKLYN, NY USAJenny Zhang was born in Shanghai and raised in New York. She is a graduate of Stanford University and The Iowa Writers' Workshop. DEAR JENNY, WE ARE ALL FIND is her first book.

    Entire neighborhoods drown in mud, glass rains from the sky, birds speak gibberish, and parents of young children disappear. Millions starve while others grow coats of mold. But a few are able to survive and find a light in the aftermath, illuminating what we’ve become. In "The Disappeared", a father is arrested for missing free throws, leaving his son to search alone for his lost mother. A boy swells to fill his parents’ ransacked attic in "The Ruined Child". Rendered in a variety of narrative forms, from a psychedelic fable to a skewed insurance claim questionnaire, Blake Butler’s full-length fiction debut paints a gorgeously grotesque version of America, bringing to mind both Kelly Link and William H. Gass, yet imbued with Butler's own vision of the apocalyptic and bizarre.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    This book would be impressive enough as a collection of finely-forged fragments, but as it weaves itself into an even more impressive whole, my hat came off. Lily Hoang writes like she has nothing to lose and everything at stake.” —Maggie Nelson“A Bestiary is a work of great subtlety, precision, intelligence, daring, and emotive keenness. It seems completely contemporary (by which I mean that it is unlike anything I’ve read and that it makes me want to change my own writerly procedures). With head¬long, reckless, improvisatory gestures, Lily Hoang prompts us to rethink what literature today can dare to aspire to. Her intellectually magnanimous book’s position on the threshold between recognizable ‘literature’ and some other vanguard form of performance/utterance made me feel happy and stimulated and dizzy (in a rapturous way) while I was reading it.” —Wayne Koestenbaum“The most perfect use of fragmentation, myth, language, fairytale, and terrible beauty that I have ever seen in my life. I’m swooning. My faith in what writing can be has been restored.” —Lidia YuknavitchLily Hoang is the author of four books, including Changing, recipient of a PEN Open Books Award. She has two novels forthcoming: Old Cat Lady and The Book of Martha and she co-edited the anthology The Force of What’s Possible: Writers on Accessibility and the Avant-Garde. She teaches in the MFA program at New Mexico State University, where she is Associate Department Head. She serves as Prose Editor at Puerto del Sol and Non-Fiction Editor at Drunken Boat.

    Evincing the power of translation as a poetic device to navigate historical and linguistic borders, it explores Edward Said's notion of "the intertwined and overlapping histories" in regards to South Korea and the United States through innovative deployments of voice, story, and poetics. Like its sister book, Hardly War, it holds history accountable, its very presence a resistance to empire and a hope in humankind.

    It is the story of a proper man, an upstanding citizen who comes to epitomize the decorous values of his New York suburban town. Yet as his story unfolds, precipitated by events that take place around him, we see his life begin to unravel. Courteous, honest, hardworking, and impenetrable, Franklin Hata, a Japanese man of Korean birth, is careful never to overstep his bounds. He makes his neighbors feel comfortable in his presence, keeps his garden well tended, bids his customers good-bye at the doorway to his medical supply shop, and ignores the taunts of local boys. Now facing his retirement years alone, Hata begins to reflect on the price he's had to pay for living this quiet "gesture life."After suffering minor injuries in an accidental fire, he remembers the painful, failed relationships of his past; with Mary Burns, a widow with whom he had an affair, and with Sunny, a Korean girl he adopted when she was seven, who is now a grown woman he hasn't spoken to or seen in years. As Hata recalls the strained, troubled relationship with Sunny, he begins to understand why his daughter, unlike himself, "felt no more at home in this town, or in this house of mine, or perhaps even with me, than when she first arrived at Kennedy Airport."Unknown to Sunny, there is a secret that has shaped the core of Hata's being; his terrible, forbidden love for a young Korean woman from his past. Serving as a medic in the Japanese army during World War II, Hata was assigned the task of overseeing the female "volunteers; women taken against their will to provide sexual favors for the men in the battalion. One of these "comfort women" he came to love. These remembrances, tinged with grief and regret, ultimately draw Hata once again to his daughter; and help him begin to attain a more truthful understanding of himself.

    She tells of the trials of immigration, of exile, of thwarted interracial love, and of social injustice. Some poems recall the Confucian "Book of Songs," while others echo the African American blues tradition and Western railroad ballads. The title poem references the Han Dynasty rhapsody but is also a wild, associative tour de force. Political allegories sing out with personal revelations. Personal revelations open up to a universal cry for compassion and healing. These songs emerge as a powerful and elegant collection: sophisticated yet moving, hard-hitting yet refined.

    This is a major new voice.” — Margaret AtwoodThe Country Between Us opens with a series of poems about El Salvador, where Carolyn Forché worked as a journalist and was closely involved with the political struggle in that tortured country in the late 1970's. Forché's other poems also tend to be personal, immediate, and moving. Perhaps the final effect of her poetry is the image of a sensitive, brave, and engaged young woman who has made her life a journey. She has already traveled to many places, as these poems indicate, but beyond that is the sense of someone who is, in Ignazio Silone's words, coming from far and going far.

    The poems in this collection reach dazzling heights while being firmly grounded in the everyday. Traveling by train, lying on a beach, and listening to jazz on the radio are the seemingly ordinary activities whose hidden textures are revealed by Collins's poetic eye. With clarity, precision, and enviable wit, Collins transforms those moments we too often take for granted into brilliant feats of creative imagination. Nine Horses is a poetry collection to savor and to share.

    With spare, evocative prose, Snow Hunters traces the extraordinary journey of Yohan, who defects from his country at the end of the war, leaving his friends and family behind to seek a new life in a port town on the coast of Brazil.Though he is a stranger in a strange land, throughout the years in this town, four people slip in and out of Yohan’s life: Kiyoshi, the Japanese tailor for whom he works, and who has his own secrets and a past he does not speak of; Peixe, the groundskeeper at the town church; and two vagrant children named Santi and Bia, a boy and a girl, who spend their days in the alleyways and the streets of the town. Yohan longs to connect with these people, but to do so he must sift through his traumatic past so he might let go and move on.In Snow Hunters, Yoon proves that love can dissolve loneliness; that hope can wipe away despair; and that a man who has lost a country can find a new home. This is a heartrending story of second chances, told with unerring elegance and absolute tenderness.

    A classic work of autobiography that transcends the self, Dictée is the story of several women: the Korean revolutionary Yu Guan Soon, Joan of Arc, Demeter and Persephone, Cha's mother Hyung Soon Huo (a Korean born in Manchuria to first-generation Korean exiles), and Cha herself. The elements that unite these women are suffering and the transcendence of suffering. The book is divided into nine parts structured around the Greek Muses. Cha deploys a variety of texts, documents, images, and forms of address and inquiry to explore issues of dislocation and the fragmentation of memory. The result is a work of power, complexity, and enduring beauty.

    Oceanic is both a title and an ethos of radical inclusion, inviting in the grief of an elephant, the icy eyes of a scallop, “the ribs / of a silver silo,” and the bright flash of painted fingernails. With unmatched sincerity, Oceanic speaks to each reader as a cooperative part of the natural world—the extraordinary neighborhood to which we all belong. This is a poet ecstatically, emphatically, naming what it means to love a world in peril.

    Her work life is uneventful until trouble arises in the form of a predatory colleague.To forestall any disruption of business-as-usual, Jungle makes Yona a proposition: a paid "vacation" to the desert island of Mui. But Yona must pose as a tourist and assess whether Jungle should continue their partnership with the unprofitable destination.Yona travels to the remote island, whose major attraction is an underwhelming sinkhole, a huge disappointment to the customers who've paid a premium. Soon Yona discovers the resort's plan to fabricate a catastrophe in the interest of regaining their good standing with Jungle--and the manager enlists Yona's help. Yona must choose between the callous company to whom she's dedicated her life, or the possibility of a fresh start in a powerful new position. As she begins to understand the cost of the manufactured disaster, Yona realizes that the lives of Mui's citizens are in danger--and so is she.In The Disaster Tourist, Korean author Yun Ko-eun grapples with the consequences of our fascination with disaster, and questions an individual's culpability in the harm done by their industry.

    In her ménage à trois with these faithful companions, the poet is aware that while Roget seems obsessed with categories and hierarchies, the American Heritage, whatever its faults, was compiled with the assistance of a democratic usage panel that included black poets Langston Hughes and Arna Bontemps, as well as feminist author and editor Gloria Steinem. With its arbitrary yet determinant alphabetical arrangement, its gleeful pursuit of the ludic pleasure of word games (acrostic, anagram, homophone, parody, pun), as well as its reflections on the politics of language and dialect, Mullen's work is serious play. A number of the poems are inspired or influenced by a technique of the international literary avant-garde group Oulipo, a dictionary game called S+7 or N+7. This method of textual transformation--which is used to compose nonsensical travesties reminiscent of Lewis Carroll's "Jabberwocky"--also creates a kind of automatic poetic discourse.Mullen's parodies reconceive the African American's relation to the English language and Anglophone writing, through textual reproduction, recombining the genetic structure of texts from the Shakespearean sonnet and the fairy tale to airline safety instructions and unsolicited mail. The poet admits to being "licked all over by the English tongue," and the title of this book may remind readers that an intimate partner who also gives language lessons is called, euphemistically, a "pillow dictionary."