LGBTQIA Studies. Through intertwined threads of autofiction, lyric science writing, and the tale of a newly queer Hawaiian volcano, Sabrina Imbler delivers a coming out story on a geological time scale. This is a small book that tackles large, wholly human questions--what it means to live and date under white supremacy, to never know if one is loved or fetishized, how to navigate fierce desires and tectonic heartbreak through the rise and eventual eruption of a first queer love."When two galaxies stray too near each other, the attraction between them can be so strong that the galaxies latch on and never let go. Sometimes the pull triggers head-on wrecks between stars--galactic collisions--throwing bodies out of orbit, seamlessly into space. Sometimes the attraction only creates a giant black hole, making something whole into a kind of missing." In vivid, tensile prose, DYKE (GEOLOGY) subverts the flat, neutral language of scientific journals to explore what it means to understand the Earth as something queer, volatile, and disruptive."Sabrina Imber's DYKE (GEOLOGY) is not only gorgeous, it is wildly transformative. It contains sentences that mimic the Earth itself: craggy, pitted, alive. There is so much movement, a momentum that sweeps readers along sentence by sentence. The structures Imbler builds are deeply affecting, deeply moving. The heart of it sits exposed, bare and beating, pulsing and insistent. This writing is very queer, very loving, very painful, very poignant. It is revolutionary work."--Kristen Arnett"You'll feel every moment of this book, words twisting, colliding, rooting in the body. With a gentle ferocity that builds from the inside out, I was swept by Imbler's story of navigation, displacement, and the violent marvels of the natural world."--T. Kira Madden"A dazzling work, striking and rich, Imbler's geology reminds us what it means to be alive."--Randa Jarrar"DYKE (GEOLOGY) holds strata of meaning and feeling veined with anger, horniness, and shame, studded with outcrops of facts and nuggets of nerd jokes. All of this together is what makes the sum of Sabrina Imbler's ranging, folding, stacking sentences an effortful pleasure to traverse, even when they dig down into pain. Like a lasting mythology, DYKE (GEOLOGY) offers ways to feel through indirection what it's hard to know head-on. Like good science, it recognizes the mediated ways that power shapes both knowledge and desire, what we're able to find and what we want to be true. Like any landscape, it repays attention and doesn't stop at the surface, but lives in the relationships among history and chemistry, the open air and the hot heart of the Earth."--Kate Schapira"Imbler queers the history of the world here--a thrilling summer romance set to geological time, unlike any I know, spanning the globe and the history of humanity and the space between two dyke hearts. Play in the waves of this mind and emerge renewed."--Alexander Chee

    In these poems, Reed finds agency in the other-than-human identities assigned to those assaulted by savageries of the state. In doing so, he summons a retaliatory, counterviolent Black spirit to revolt and to inhabit the revolting.

    In Bite Hard, poet Justin Chin explores his identity as an Asian, a gay man, an artist, and a lover. He rails against both his own life experiences and society's limitations and stereotypes with scathing humor, bare-bones honesty, and unblinking detail. Whether addressing "what really goes on in the kitchen of Chinese restaurants" or a series of ex-boyfriends, all named Michael, Chin displays his remarkable emotional range and voice as a poet.His raw, incantatory, stream-of-consciousness poems confront issues of race, desire, and loss with a compelling urgency that reflects his work as a performance artist, speaking directly to an audience. Throughout this collection, Chin showcases his ability to convey thought-provoking viewpoints on a variety of controversial subjects. As R. Zamora Linmark of Rolling the R's says, "He plugs the stage microphone into the page and lyrically blasts the heart of our fears, rage, and import-export nightmarish dreams".

    Louis. Reminiscent of Jean Toomer's Cane, the book is in part a meditation on African-American autobiography. Keene explores questions of identity from many angles - from race to social class to sexuality (gay and straight). Employing all manner of textual play and rhythmic and rhetorical maneuvers, he (re)creates his life story as a jazz fugue-in-words.

    Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight.“In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

    Braiding together sexuality and divinity, conflict and redemption, The Lost Arabs is a fierce, urgent collection from a distinct new voice.

    From a stunning double crown sonnet, to erasure poetry contained within DNA testing results, the poems in this collection are as wide-ranging in form as they are bountiful in wordplay and truth. In her poem 'The Shop at Monticello,' she writes: 'I’m a black body in this Commonwealth, which turned black bodies/ into money. Now, I have money to spend on little trinkets to remind me/ of this fact. I’m a money machine & my body constitutes the common wealth.' Speaking to history, loss, and injustice with wisdom, innovation, and a scientific determination to find the poetic truth, White Blood plants Petrosino’s name ever more firmly in the contemporary canon.

    Poemland alternates brilliantly between the deadpan, the spectacular, and the outrageous.If you open your mouth to start to complain I will fill it with whipped cream . . .There is a floating sadness nearby . . .Chelsey Minnis is the author of three previous collections. A graduate of the University of Colorado at Boulder and the Iowa Writers' Workshop, she currently lives in Boulder, Colorado.

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.

    In her new collection, Medicine, she deploys a variety of dramatic voices, spoken by such disparate characters as Cinderella's wicked sisters, the wife of a nineteenth-century naturalist, a homicide detective, and a woman who is happily married to a bear. Their elusive collectivity suggests, but never quite defines, the floating authorial presence that haunts them. Gerstler's abiding interests--in love and mourning, in science and pseudo-science, in the idea of an afterlife--are strongly evident in these new poems, which are full of strong emotion, language play, surprising twists, and a wicked sense of black humor.

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    THEORIES OF FALLING is the winner of the 2007 New Issues Poetry Prize. Judge Marie Howe said of THEORIES OF FALLING, "I kept coming back to these poems--the tough lyric voice that got under my skin. Clear, intent, this poet doesn't want to fool herself or anybody else. Desire pushes defeat against the wall, and the spirit climbs up from underground." "Sandra Beasley slices her way down the page with precision and punch. Her haunting 'Allergy Girl' series will set off such an itch, I doubt you'll ever fully recover...This poet leaves us to smolder and ache in small kingdoms where 'even the tame dogs dream of biting clear to the bone.'"--Aimee Nezhukumatathil.

    With titles such as “Stride Piano,” “Gutbucket,” and “Can-Can,” these poems have the sharp completeness of vocalized songs and follow a classic blues trajectory: praising and professing undying devotion (“To watch you walk / cross the room in your black / corduroys is to see / civilization start”), only to end up lamenting the loss of love (“No use driving / like rain, past / where you at”). As Young conquers the sorrow left on his doorstep, the poems broaden to embrace not just the wisdom that comes with heartbreak but the bittersweet wonder of triumphing over adversity at all.Sexy and tart, playfully blending an African American idiom with traditional lyric diction, Young’s voice is pure American: joyous in its individualism and singing of the self at its strongest.From the Hardcover edition.

    The poet wonders at his own existence and struggles between actual living and the desire to die."Cyril Wong continues to explore the nuances of relationships, in language that is lyrical, beautifully crafted, and erotically charged. There are several fine love poems that reach out to embrace a common humanity. Wong swims into the undercurrents of family tensions, hidden desires, and the meaning of a self... as well as questioning our understanding of both life and death."- Rebecca Edwards, author of Scar Country and Holiday Coast Medusa"Reading Cyril Wong is always to encounter risk, the painful suturing of art and life, trials of faith and baptisms of fire. I have only the deepest respect for someone who has razed the walls between the private and the public, and in doing so, carved more space for all of us."- Alfian Sa'at, author of One Fierce Hour and A History of Amnesia

    Burned by her traumatic past, Angel is new to the drag world, new to ball culture, and has a yearning inside of her to help create family for those without. When she falls in love with Hector, a beautiful young man who dreams of becoming a professional dancer, the two decide to form the House of Xtravaganza, the first-ever all-Latino house in the Harlem ball circuit. But when Hector dies of AIDS-related complications, Angel must bear the responsibility of tending to their house alone.As the mother of the house, Angel recruits Venus, a whip-fast trans girl who dreams of finding a rich man to take care of her; Juanito, a quiet boy who loves fabrics and design; and Daniel, a butch queen who accidentally saves Venus’s life. The Xtravaganzas must learn to navigate sex work, addiction, and persistent abuse, leaning on each other as bulwarks against a world that resists them. All are ambitious, resilient, and determined to control their own fates, even as they hurtle toward devastating consequences. Told in a voice that brims with wit, rage, tenderness, and fierce yearning, The House of Impossible Beauties is a tragic story of love, family, and the dynamism of the human spirit.