This poem, written from the perspective of the silkworm, explores the cultural, scientific, and linguistic complexities of silk written inside the body.

    The long, lavish, and utterly unpredictable sentences that Schiff has assembled contort as much to discover what can’t be contained as what can.     This is a book of extremes relentlessly contemporary in scope. And like the eighty-blade sportsman’s knife also described here, Revolver keeps opening and reopening to the daunting possibilities of transformation—“Splayed it is a bouquet of all the ways a point mutates.”from “Silverware by J. A. Henckels”Let me beas streamlined as my knife when I say this.As cold as my three-pronged fork thatcools the meat even as it steadies it.A pettiness in me was honedin this cutlers’ town, later bombed,in which Adolf Eichmann, who was born therealongside my wedding pattern, could hearthe constant sharpening of kniveslike some children hear the corn in their hometownstalking to them through the wind.The horizon is just the score they breathe throughlike a box of chickensbreathing through a slit.

    These stories are filled with in-laws, outlaws and common-laws. Get ready for illegal wrestling moves (“The Camel Clutch”), pinky promises, a doctored casino, extraterrestrials or “Sky People,” love, lust and prayers for peace.While this is Van Camp’s most hilarious short story collection, it’s also haunted by the lurking presence of the Wheetago, human-devouring monsters of legend that have returned due to global warming and the greed of humanity. The stories in Moccasin Square Gardens show that medicine power always comes with a price.To counteract this darkness, Van Camp weaves a funny and loving portrayal of the Tłı̨chǫ Dene and other communities of the North, drawing from oral history techniques to perfectly capture the character and texture of everyday small-town life. “Moccasin Square Gardens” is the nickname of a dance hall in the town of Fort Smith that serves as a meeting place for a small but diverse community. In the same way, the collection functions as a meeting place for an assortment of characters, from shamans and time-travelling goddess warriors to pop-culture-obsessed pencil pushers, to con artists, archivists and men who just need to grow up, all seeking some form of connection.

    Told at first through the frank eyes of a child whose life was irretrievably changed after being “adopted” into a German Lutheran family, Too Afraid to Cry braids piercingly lyrical verse with spare prose to tell an intensely personal story of abuse and trauma. After years of suffering as a dark-skinned “outsider,” Eckermann reveals her courageous efforts to reconcile with her birth family and find acceptance within their Indigenous community. Too Afraid to Cry offers a mirror to America and Canada’s own dark history of coerced adoption of Native American children, and the violence inflicted on our continent’s Indigenous peoples.

    African American Studies. Straddling fiction and poetry, Renee Gladman's writing operates on the level of the sentence, constructing suprise and oblique meanings at every turn, and somehow managing the supremely difficult trick of both engaging and pushing the reader. "THE ACTIVIST begins in the middle of a revolution....There is a bridge that may or may not have been bombed. People speak in nonsense and cannot stop themselves. In the mids of all this, the language of news reports mixes with the language of confession. The art of this beautifully written book is in how it touchingly illustrates that relations between humans and cities are linked in a more complex interface than most realize"--Juliana Spahr.

    "An oblique conversation with Degas reigns throughout this collection of oddly heartbreaking pieces. Against the backdrop of his paintings and sketches, we find ourselves in an intimate world, coherent but uncanny, where private memory becomes inseparable from the culture we hold in common, and all of it just barely cracked open, riven by interstices through which we glimpse the vivid but unsayable. White has given us a truly exceptional first collection, deeply musical and intricately haunting" Cole Swensen."

    They are as insistent as they are circumspect, drawing close to the reader’s ear and bringing them into confidence. The engine of Shine, Darling is one of strength, of fortitude in confronting and surviving the world, of a lifted-chin audacity – ‘There was pain,’ the speaker allows, ‘but it was not new pain.’ Frears’s work is world-weathered rather than world-weary, delighted by service stations, fucking on bins in Cornwall, in constant communion with the moon. It lives for the power-play of people, of the pull of the sea, the smoky air – ‘Stormy, sticky with flies’ – and tangled underbrush where the land ends. Her characters test each other, experimenting with the boundaries of physical violence, of punishment, of traps, all the while drawing the reader into a complicity that gives these poems all their daring, electrifying muscularity. In Shine, Darling, the desire to expose and disclose wrestles with defence and defiance. The result is exhilarating, a ‘glorious full-bodied’ debut collection with the draw of an adamant tide. ‘Uncompromising, intelligent, surprising, accessible and sharp … These lyric poems have a clarity and straightforwardness that only a special kind of attention, and a certain kind of fearlessness can achieve.’ – Mark Waldron

    Old Europe still lives in Bosselaar's rich language: Entre chien et loup, as it's known in Flanders--the time at dusk when a wolf can be mistaken for a dog.Lyrical poetry that sings of farmers, families and nunneries in Belgium and Flanders.

    could have predicted the delayed depth-charge of this explosive second book, motored by vividly earthly language and disguised philosophical sophistication." —Publishers Weekly, starred review"Throughout Made Flesh, one of the most powerful poetry books this year, Arnold gets at both the contradictions and timelessness of love." —Time Out New York"The readers delighted with (Arnold's) first book (Shells) will be differently enchanted with these. They contain a wealth of contemplation as well as observation and experience. Their unpunctuated free style carries the reader into the poems, piling up events and details in a breathless rush....The poems of Made Flesh are unforgettable, and it is tragic that readers will have no new books from Craig Arnold."—Magill Book ReviewsA girl wakes up to find out just how completely her lover has possessed her. A couple realizes they’ve been trapped inside an ancient myth. A traveler glances out through a train window and catches the dim reflection of another world.This is the world of Made Flesh, the long-awaited second book by Craig Arnold, a finalist for the Utah Book Award and the High Plains book award. Made Flesh delineates a new mythology of what it means to be in the body. Marrying narrative precision to lyric ecstasy, the archaic to the avant-garde, these poems celebrate the fragility of our very selves and “the joy of self-forgetting,” the acts of surrender that loves asks of us. Fierce, exuberant, and erotic, they invite the reader to share a rare and startling vision: how, if we would only permit ourselves to be drawn out of our mental privacies, out to the very surface of our skin, we might admit the beauty of being for a moment in the world, and with each other.Craig Arnold is the author of Shells, a Yale Series of Younger Poets selection chosen by W.S. Merwin. He taught at the University of Wyoming in Laramie. In late April 2009, Craig Arnold went missing on the Japanese island of Kuchinoerabu-jima, where he was working on a book about volcanoes as part of a Creative Artists' Exchange Fellowship from the Japan-United States Friendship Commission. He was forty-one years old.

    Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket.Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

    Hale's is a story of intense and resonant beauty. Breathtaking in its range and authority, Bloodlines is an important addition to the literature of women of color.

    After initial tensions they become friends and share their life stories.

    Always striving to be a better, stronger person, Wagamese shared his journey through writing, encouraging others to do the same.Following the success of Embers, which has sold over fifty thousand copies since its release in 2016, this new collection of Wagamese’s non-fiction works, curated by editor Drew Hayden Taylor, brings together more of the prolific author’s short writings, many for the first time in print, and celebrates his ability to inspire. Drawing from Wagamese’s essays and columns, along with preserved social media and blog posts, this beautifully designed volume is a tribute to Wagamese’s literary legacy.

    . . the effect is shattering and transcendent.”—Modern Times Bookstore newsletterIn lyric, diamond-cut prose, Selah Saterstrom revisits the mythic, dead-end Southern town of Beau Repose. This time, the story follows a strung-out American teenager influenced by heavy metal, inspired by Ginger Rogers, hell-bent on self-destruction, and more intelligent than anyone around her realizes. She is forced into rehab and private school, and her life, at least on the surface, changes course, eventually leading to theology studies in Scotland. But as the feverish St. Vitus’s dance of her adolescence morphs into slow-motion inertia abroad, an illness brings her home again—to face the legacy of pain she left behind and to find a way to become the lead in a dance of her own creation.An heir to William Faulkner and Toni Morrison, Saterstrom soars above the traditional boundaries of the American novel with “exquisite, cut-to-the-quick language” (Raleigh News & Observer) that makes her novels “impossible to put down.” Spare, raw, and transcendent, Saterstrom’s unflinching examination of modern-day Dixie and contemporary adolescence lights up the dark corners of the American experience.Selah Saterstrom is the author of The Pink Institution, a debut novel praised across the country for “letting gusts of fresh, tart air blow into the old halls of Southern Gothic” (The Believer). A Mississippi native, she is currently on the faculty of the University of Denver's Creative Writing Program. Visit her website at www.selahsaterstrom.com.

    Weaving these texts together, Peck brilliantly imagines the book that Baldwin never wrote. In his final years, Baldwin had envisioned a book about his three assassinated friends, Medgar Evers, Malcolm X, and Martin Luther King. His deeply personal notes for the project have never been published before. Peck s film uses them to jump through time, juxtaposing Baldwin s private words with his public statements, in a blazing examination of the tragic history of race in America.