When her fiancé and family don’t believe her, she flees her home in India to Canada, where she plans to raise the child as a single mother. For Kiran, living undocumented means constant anxiety over finances, work, safety, and whether she’ll be deported back to the dangers that await her in Punjab.Eighteen years later, Kiran’s daughter, Sahaara, is desperate to help her mother, who has been arrested and is facing deportation. In the aftermath, Kiran reveals the truth about Sahaara’s conception. Horrified, Sahaara encourages Kiran to speak out against the man who raped her—who’s now a popular political figure in Punjab. Sahaara must find the best way to support her mother while also dealing with the revelation about her parents.

    Who feel everything and everything has feeling."In My Head, the debut release of one of Instagram's most popular poets whose writing has been liked by millions, dives below the surface of love, loss, and life.J.M. Storm has crafted a haunting yet hopeful poetry collection that is meant to be felt as much as it is read.

    For the first time, the complete collection of Maya Angelou's published poems-including "On the Pulse of Morning"-in a permanent collectible, handsome hardcover edition.

    Six years ago, she was recruited by DB Entertainment—one of Seoul’s largest K-pop labels, known for churning out some of the world’s most popular stars. The rules are simple: Train 24/7. Be perfect. Don’t date. Easy right?Not so much. As the dark scandals of an industry bent on controlling and commodifying beautiful girls begin to bubble up, Rachel wonders if she’s strong enough to be a winner, or if she’ll end up crushed… Especially when she begins to develop feelings for K-pop star and DB golden boy Jason Lee. It’s not just that he’s charming, sexy, and ridiculously talented. He’s also the first person who really understands how badly she wants her star to rise.

    Polyvocal poems, arias, and redacted text speak for the unheard. Philip Metres exposes our common humanity while investigating the dehumanizing perils of war and its lasting effect on our culture.From "Hung Lyres":@When the bombs fell, she could barely raiseher pendulous head, wept shrapneluntil her mother capped the firewith her breast. She teeteredon the highwire of herself. Shelay down & the armies retreated, nevershowing their backs. When she unlatchedfrom the breast, the planes took off again.Stubborn stars refused to fall . . . Philip Metres has written a number of books and chapbooks, most recently A Concordance of Leaves (Diode, 2013), abu ghraib arias (Flying Guillotine, 2011), To See the Earth (Cleveland State, 2008), and Behind the Lines: War Resistance Poetry on the American Homefront Since 1941 (University of Iowa, 2007). His work has appeared widely, including in Best American Poetry, and has garnered two NEA fellowships, the Thomas J. Watson Fellowship, four Ohio Arts Council Grants, the Anne Halley Prize, the Arab American Book Award, and the Cleveland Arts Prize. He teaches at John Carroll University in Cleveland, Ohio.

    Using these records and voices as a sort of poetic census, she creates a narrative of the river, tracking its life from source to sea. The voices are wonderfully varied and idiomatic - they include a poacher, a ferryman, a sewage worker and milk worker, a forester, swimmers and canoeists - and are interlinked with historic and mythic voices: drowned voices, dreaming voices and marginal notes which act as markers along the way.

    poet laureate, a National Humanities Medal, and a National Medal of Art. Gathering thirty years and seven books, this volume compiles Dove’s fresh reflections on adolescence in The Yellow House on the Corner and her irreverent musings in Museum. She sets the moving love story of Thomas and Beulah against the backdrop of war, industrialization, and the civil right struggles. The multifaceted gems of Grace Notes, the exquisite reinvention of Greek myth in the sonnets of Mother Love, the troubling rapids of recent history in On the Bus with Rosa Parks, and the homage to America’s kaleidoscopic cultural heritage in American Smooth all celebrate Dove’s mastery of narrative context with lyrical finesse. With the “precise, singing lines” for which the Washington Post praised her, Dove “has created fresh configurations of the traditional and the experimental” (Poetry magazine).

    John Brown's raid. Brown v. the Topeka Board of Ed. The prize-winning author of Blue Laws meditates on all things "brown" in this powerful new collection.Divided into "Home Recordings" and "Field Recordings," Brown speaks to the way personal experience is shaped by culture, while culture is forever affected by the personal, recalling a black Kansas boyhood to comment on our times. From "History"--a song of Kansas high-school fixture Mr. W., who gave his students "the Sixties / minus Malcolm X, or Watts, / barely a march on Washington"--to "Money Road," a sobering pilgrimage to the site of Emmett Till's lynching, the poems engage place and the past and their intertwined power. These thirty-two taut poems and poetic sequences, including an oratorio based on Mississippi "barkeep, activist, waiter" Booker Wright that was performed at Carnegie Hall and the vibrant sonnet cycle "De La Soul Is Dead," about the days when hip-hop was growing up ("we were black then, not yet / African American"), remind us that blackness and brownness tell an ongoing story. A testament to Young's own--and our collective--experience, Brown offers beautiful, sustained harmonies from a poet whose wisdom deepens with time.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    From early childhood, she heard the story of her adoption as a comforting, prepackaged myth. She believed that her biological parents had made the ultimate sacrifice in the hopes of giving her a better life; that forever feeling slightly out of place was simply her fate as a transracial adoptee. But as she grew up—facing prejudice her adoptive family couldn’t see, finding her identity as an Asian American and a writer, becoming ever more curious about where she came from—she wondered if the story she’d been told was the whole truth.With warmth, candor, and startling insight, Chung tells of her search for the people who gave her up, which coincided with the birth of her own child. All You Can Ever Know is a profound, moving chronicle of surprising connections and the repercussions of unearthing painful family secrets—vital reading for anyone who has ever struggled to figure out where they belong.Finalist, National Book Critics Circle Award for Autobiography / Longlisted for the PEN Open Book Award / Named a Best Book of the Year by The Washington Post, NPR, The Boston Globe, TIME, Newsday, Library Journal, BuzzFeed, Real Simple, Paste Magazine, Chicago Public Library, Seattle Public Library, Goodreads, Shelf Awareness, Electric Literature, and more

     At last, the master Says, "That's hard to explain." And That is all she says.This unsatisfying answer sets Wabi Sabi on a journey to uncover the meaning of her name, and on the way discovers what wabi sabi is: a Japanese philosophy of seeing beauty in simplicity, the ordinary, and the imperfect. Using spare text and haiku, Mark Reibstein weaves an extraordinary story about finding real beauty in unexpected places. Caldecott Medal-winning artist Ed Young complements the lyrical text with breathtaking collages. Together, they illustrate the unique world view that is wabi sabi. A New York Times Best Illustrated Children's Book for 2008!

    As a first book of poems, it is remarkable for its accurate perceptions and its rich linguistic gifts.

    Two young women go missing decades apart. Both are fearless, both are lost. And both will have their revenge. 1986 The teenage daughter of a wealthy Vietnamese family loses her way in an abandoned rubber plantation while fleeing her angry father and is forever changed. 2011 A young, unhappy Vietnamese American woman disappears from her new home in Saigon without a trace.The fates of these two women are inescapably linked, bound together by past generations, by ghosts and ancestors, by the history of possessed bodies and possessed lands. Alongside them, we meet a young boy who is sent to a boarding school for the métis children of French expatriates, just before Vietnam declares its independence from colonial rule; two Frenchmen who are trying to start a business with the Vietnam War on the horizon; and the employees of the Saigon Spirit Eradication Co., who find themselves investigating strange occurrences in a farmhouse on the edge of a forest. Each new character and timeline brings us one step closer to understanding what binds them all.Part puzzle, part revenge tale, part ghost story, this book takes us from colonial mansions to ramshackle zoos, from sweaty nightclubs to the jostling seats of motorbikes, from ex-pat flats to sizzling back-alley street carts. Spanning more than fifty years of Vietnamese history and barreling toward an unforgettable conclusion, this is a time-traveling, heart-pounding, border-crossing fever dream of a novel that will haunt you long after the last page.

    A four-letter word. The greatest social divide in American life, a half-century ago and today. During that time, the U.S. has seen the most dramatic demographic and cultural shifts in its history, what can be called the colorization of America.But the same nation that elected its first Black president on a wave of hope—another four-letter word—is still plunged into endless culture wars. How do Americans see race now? How has that changed—and not changed—over the half-century? After eras framed by words like "multicultural" and "post-racial," do we see each other any more clearly?Who We Be remixes comic strips and contemporary art, campus protests and corporate marketing campaigns, Martin Luther King, Jr. and Trayvon Martin into a powerful, unusual, and timely cultural history of the idea of racial progress. In this follow-up to the award-winning classic Can’t Stop Won’t Stop: A History of the Hip-Hop Generation, Jeff Chang brings fresh energy, style, and sweep to the essential American story.

    When eighteen-year-old Ever Wong’s parents send her from Ohio to Taiwan to study Mandarin for the summer, she finds herself thrust among the very over-achieving kids her parents have always wanted her to be, including Rick Woo, the Yale-bound prodigy profiled in the Chinese newspapers since they were nine—and her parents’ yardstick for her never-measuring-up life.Unbeknownst to her parents, however, the program is actually an infamous teen meet-market nicknamed Loveboat, where the kids are more into clubbing than calligraphy and drinking snake-blood sake than touring sacred shrines.Free for the first time, Ever sets out to break all her parents’ uber-strict rules—but how far can she go before she breaks her own heart?