The caller, KEVIN RIKER, reports that a man has been killed up on the plateau above the West Fork of Oak Creek Canyon. Kevin leads the two lawmen on the trail through the West Fork Canyon. The trail is busy with hikers enjoying the autumn colors that are at their peak on November first. After several miles of hiking, a wade through the cold creek water, and a steep climb to the canyon rim, the group rests. Kevin explains that he had lost the normal trail when he found a strange circular grove of ponderosa pines where he discovered the gruesome body.

    A strikingly original first novel about a female circus roustabout and her shadowy existence behind the bright lights of the big top, Roustabout marks a debut of uncommon impact that readers will not soon forget.

    It interweaves four strands: a photographer newly returned to the neighborhood where she grew up, after years spent living overseas; a foundling raised on 14th Street; a graduate student, his romantic partner, and his best friend entangled in a set of relationships with far-reaching personal and political repercussions; and a shopkeeper suffering from first love late in life. Mixing prophecy, history, and a hint of speculative fiction, its stories are bound together even as they are propelled into stranger territory. And undergirding it all is a song, which appears, disappears, and then resurfaces.Ghosts of New York explores complex lives through indelible renderings of settings—a bar, a night market, a recording studio—that alternate between familiar and unsettling. The work of a celebrated novelist and veteran of the art, film, and music scenes in New York and Austin (described as “a rare talent” by the New York Times and “a powerful literary voice” by Jeffrey Eugenides), this novel will immediately absorb readers intrigued by creative people and the places that sustain and challenge them.

    A collection of poetic meditations by the National Book Critics Circle Award-finalist author of Leaving Saturn evaluates the solemn richness of everyday lives, from a grandfather who gardens in a tenement backyard to a teacher to renames her black students after French painters.

    It contains his earliest poems - in nazm, ghazal and qita form - that set him on course to becoming the greatest and most-read Urdu poet of the 20th century.

    A man and a woman sit at the same dinner table, an ocean of worry separating them. An iceberg sets out to dance. A sword swallower ponders his dating prospects. "The vessel is simple, a rowboat among yachts," the poet observes in "Ukulele." "No one hides a Tommy gun in its case. / No bluesman runs over his uke in a whiskey rage."Beasley's voice is pithy and playful, with a ferocious intelligence that invites comparison to both Sylvia Plath and Dorothy Parker. In one of six signature sestinas, she warns, "You must not use a house to build a home, / and never look for poetry in poems." The collection’s centerpiece is a haunting sequence that engages The Traveler's Vade Mecum, an 1853 compendium of phrases for use by mail, telegraph, or the enigmatic “Instantaneous Letter Writer."Assembled over ten years and thousands of miles, these poems illuminate how intimacy is lost and gained during our travels. Decisive, funny, and as compassionate as she is merciless, Beasley is a reckoning force on the page.

    With this unusual volume, arranged in six carefully paced movements to suggest the journey from death to recovery, Gallagher charges language with its utmost responsibilities: here poetry aspires deeply and urgently beyond its cultural marginality to embrace the paradox of sharing unshareable pain and to assume again an Orphic voice and a communal necessity.

    By turns seductive and self-deprecating, Women in Public navigates a world where the erotics of the body and mind do battle against the constructs that would demean and define them, using lyric, fragment, humor, and repetition to create a space flexible enough to hold the many contradictions of reality. Where expectations and desires can be piled too easily upon the body, Kahn digs in her heels, writing in attempt to liberate physical form from society's confines.Praise for Women in Public:"'Do you think that you are greater than a mom?' This is an intensely honest, honestly intense poetry. Humorous, carnal, accusatory, celebratory––Women in Public tells me to get lost so I do. When I find myself later, I'm re-reading Women in Public."––Rod Smith"In these exhilarating poems, Elaine Kahn shoots from the groin, championing a ferociousness that rages against asperity while playfully seducing the reader to misbehave. Hers is a realm where oceans beat against genitals, and Hannah Wilke warms the earth. I don’t want to let go of Women in Public for I want its boldness all to myself."––Dodie BellamyAbout the Author:Musician, poet, artist, Elaine Kahn was born in Evanston, Illinois and is currently based in Oakland, California. She received an MFA from the Iowa Writers' Workshop and a BA from California College of the Arts. Kahn is the author of three poetry chapbooks, A Voluptuous Dream During an Eclipse (2012), Customer (2010), and Radiant Bottle Caps (2008), and is a contributor to Art Papers. Her music project, Horsebladder, has toured widely throughout the U.S. and Canada. She is also co-founder of the feminist puppet troop P. Splash Collective and managing editor of the small press Flowers & Cream.

    Set in a middle-class housing colony, this is the story of stay-at-home mum Monalisa, who cannot clean the kitchen counter enough times; Meera, who is bullied constantly by her traditional mother-in-law; college-going Abeer, who isnt sure how to impress the glamorous Mandy; academic Aparajita, who has no takers on the marriage mart; philosopher Ananda, whom no one takes seriously; and Treeza, a former school secretary now sunk in gloom. Into their midst arrives Oxford-returned Sandhya: half hippie, half saadhvi, full spiritual guru. Under her aegis is formed The Weight Loss Club, throwing the lives of our heroes and heroines into utter and delightful disarray. But while chemistry brews and equations change, one question remains: who is Brahmacharini Sandhya, and why on earth has she moved into Nancy Housing Cooperative?

    Wright’s most intimate thoughts and images appear before us in dramatic and spectral short narratives: mesmerizing poems whose colloquial sound and rhythms announce a new path for this luminous and masterful poet. In these journeys, we hear the constant murmured “yes” of creation—“it will be packing its small suitcase soon; it will leave the keys dangling from the lock and set out at last,” Wright tells us. He introduces us to the powerful presences in his world (the haiku master Basho, Nietzsche, St. Teresa of Avila, and especially his father, James Wright) as he explores the continually unfolding loss of childhood and the mixed blessings that follow it. Taken together, the pieces deliver the diary of a poet—“a fairly good egg in hot water,” as he describes himself—who seeks to narrate his way through the dark wood of his title, following the crumbs of language. “Take everything,” Wright suggests, “you can have it all back, but leave for a little the words, of all you gave the most mysteriously lasting.” With a strong presence of the dramatic in every line, Kindertotenwald pulls us deep into this journey, where we too are lost and then found again with him.

    Hers is a vision like no other. In “To My Big Nose,” she muses: “hard to imagine what the world would have looked like / if not seen through your pink shadow. / You who are built from random parts / like a mythical creature–a gryphon or sphinx–.”Fearless, focused, ironic, irreverent, truly and deeply felt, the poems in Luck Is Luck draw upon the circumstances of being a woman, the harsh realities of nature, the comfort of familiar things, and universally recognizable anxieties about faith and grief, love and desire. In “Languedoc,” she writes, “Long ago / I might have been attracted by your tights and pantaloons / but now they just look silly, ditto for your instrument / that looks like a gourd with strings attached / (the problem is always the strings attached).”Perillo’s versions of nature are always unflinching: “Most days back then I would walk by the shrike tree, / a dead hawthorn at the base of a hill. / The shrike had pinned smaller birds on the tree’s black thorns / and the sun had stripped them of their feathers. / . . . well, hard luck is luck, nonetheless. / With a chunk of sky in each eye socket. / And the pierced heart strung up like a pearl.”Down-to-earth, full of playful twists of language, and woven from grand themes in an accessible, appealing way, these poems pierce the heart and delight the mind. Not one word is wasted.

    Drawing from his eleven collections and including twenty-three previously unpublished poems, Search Party is the essential compilation of this beloved poet's work. Edited by his son, Sebastian Matthews, and William Matthews's friend and fellow poet Stanley Plumly (who also introduces the book), Search Party is an excellent introduction to the poet and his glistening riffs on twentieth-century topics from basketball to food to jazz.

    In this fictional tour de force Jay Griffiths, author of the acclaimed Wild, creates a portrait of the artist Frida Kahlo—her devastating accident and her love for Diego Rivera—that is also a celebration of the spirit of poetry and the art of rebellion.

    His investigation proves difficult when the neighborhood's Yiddish-speaking residents are reluctant to talk. But when the rabbi's headstrong daughter, Rivka, unexpectedly offers to help Hanley find her father's killer, the detective receives much more than the break he was looking for. Their pursuit of the truth draws Rivka and Hanley closer together and leads them to a relief organization run by the city's movers and shakers. Along the way, they uncover a web of political corruption, crooked cops, and well-buried ties to two notorious Irish thugs from Hanley's past. Even after he is kicked off the case, stripped of his badge, and thrown in jail, Hanley refuses to quit. With a personal vendetta to settle for an innocent life lost, he is determined to expose a complicated criminal scheme, not only for his own sake, but for Rivka's as wel

    Naked Pueblo, his absolutely maximalist, throw-everything-in-and-shake-it-up short story collection, buzzes like some kind of whacked-out fever dream." (Esquire)