Unfurling and unrelenting in its delivery, Candrilli has painted “the mountain” in excruciating detail. They show readers a world of Borax cured bear hides and canned peaches, of urine-filled Gatorade bottles and the syringe and all the syringe may carry. They show a violent world and its many personas. What Runs Over, too, is a story of rural queerness, of a transgender boy almost lost to the forest. The miracle of What Runs Over is that Candrilli has lived to write it at all."When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'"-Kaveh Akbar

    African American Studies. TWERK unveils an identity shaped by popular media and history, code switching and cultural inclusivity. The poems, songs, and myths in this long-awaited first book are as rooted in lyric as in innovation, in Black music as in macaronic satire. TWERK evokes paradox, humor, and vulnerability, and it offers myriad avenues fueled by language, idiom, and vernacular. From a poet unafraid to take risks, this book asks only that we imagine America as it has always existed, an Americana beyond the English language."Here it is: a dope jam of dictions; a remixed, multicultural, polyphonic dance of vocabularies; a language of high stakes, hi-jinx, and hybridity. TWERK is subversive, vulnerable, and volatile. TwERK twists tongues. TwERK tweaks speech. Reading these amazing poems mostly makes me say, Wow! Open your ears to take this music in, open your mouth to say it out loud. And: Wow!"--Terrance Hayes"Tweaking parallel languages, rebooting and putting them to (hard, hard) work, TWERK's non-stop shimmy-shimmy embarks on an anime-iigjag idio-lingual-lectical booty-roll and doesn't come down until the break of dawn. La Reina de Harlem responds to Lorca's Big-Apple-opolis heteroglossia with her own inimitable animations, incantations and ululations, twisting tongues so mellifluously that you don't even realize you've been dancing on Saturn with Sun Ra for hours and still could have begged for more. Welcome LaTasha Diggs: this is her many-splendored night out!"--Maria Damon"From this time forward, TWERK, can refer to a collection of cultural coordinates of a radically transformed Americas. TWERK--is rare poetics, a vine enmeshed onyx slab of gypsum glyphs inscribed. Cut, swirly, and nervy, N. Diggs's fractal-linguistic urban chronicles deftly snip away at the lingering fears of a fugitive English's frisky explorations. In her first major work, N. Diggs doesn't so much 'find' culture as she conjures up the new emerging happy peoples herein. Five thousand updates--download now!"--Rodrigo Toscano

    Under the cover of deepest night, sleeping men are run over by trucks. Navajo bodies are deserted in fields. Resources are extracted. Lines are crossed. Men communicate through beatings, and football, and sex. In this place, “the closest men become is when they are covered in blood / or nothing at all.”But if Jake Skeets’s collection is an unflinching portrait of the actual west, it is also a fierce reclamation of a living place―full of beauty as well as brutality, whose shadows are equally capable of protecting encounters between boys learning to become, and to love, men. Its landscapes are ravaged, but they are also startlingly lush with cacti, yarrow, larkspur, sagebrush. And even their scars are made newly tender when mapped onto the lover’s body: A spine becomes a railroad. “Veins burst oil, elk black.” And “becoming a man / means knowing how to become charcoal.”Selected by Kathy Fagan as a winner of the 2018 National Poetry Series, Eyes Bottle Dark with a Mouthful of Flowers is a debut collection of poems by a dazzling geologist of queer eros.

    The book draws upon the wisdom of foolishness and the logic of glee, while simultaneously exploring the suffering inherent to embodied consciousness. Speakers play out moments of bravado and fear, love and mortality, disappointment and desire. They socialize incorrigibly with lakes, lovers, fire, and readers, reasoning their way to unreasonable conclusions. These poems try to understand how it is that we come to recognize and differentiate objects and beings, how wholly each is attached to its name, and which space reveals them. What Is Amazing delights in fully inhabiting its varied forms and voices, singing worlds that often coincide with our own.

    Seventeen-year-old Sylvia (Harper) Kostak is caught between her mother’s regrets and the strictures of small-town life in the interior of British Columbia. When Harper meets Gabe, an intense and enigmatic young man living on the ’60s-style arts commune outside of town, she is transfixed. Gradually we learn Gabe’s story and what led him to join his estranged mother on the commune, where, in a bid for freedom, Harper eventually finds herself, setting in motion a series of events leading to tragedy. Resonant with longing and a sense of isolation, the novel brings alive the agonies and ecstasies of growing up, sexual discovery, and how the need to belong can shape both decisions and destinies.Author Biography: Laisha Rosnau was born in Pointe Claire, Quebec, and grew up in Vernon, British Columbia. She has worked as a child-care worker, a landscaper, a waitress, a fruit picker, an interpretive guide, a journalist, and an editor. She received a Master of Fine Arts in Creative Writing from the University of British Columbia, where she was the Executive Editor of PRISM international. Her poetry and short fiction have been published in literary journals and anthologies in Canada, the United States, and Australia. The Sudden Weight of Snow is her first novel. Laisha Rosnau lives in Vancouver, where she is at work on a collection of poetry and on her second novel.

    A former Syrian refugee himself, Ramadan unveils an enthralling tale of courage that weaves through the mountains of Syria, the valleys of Lebanon, the encircling seas of Turkey, the heat of Egypt and finally, the hope of a new home in Canada.Inspired by Arabian Tales of One Thousand and One Nights, The Clothesline Swing tells the epic story of two lovers anchored to the memory of a dying Syria. One is a Hakawati, a storyteller, keeping life in forward motion by relaying remembered fables to his dying partner. Each night he weaves stories of his childhood in Damascus, of the cruelty he has endured for his sexuality, of leaving home, of war, of his fated meeting with his lover. Meanwhile Death himself, in his dark cloak, shares the house with the two men, eavesdropping on their secrets as he awaits their final undoing.Winner of the Canadian Authors Association's Fred Kerner Award for Best Overall Fiction Book.Winner of Independent Publisher Gold Medal - LGBT FictionFinalist for the Lambda Literary Award - Gay Fiction - 2018.Shortlisted for The OLA's Evergreen Award - 2018Longlisted for Canada Reads - 2018Top Ten Books in 2017 by Toronto StarBest 100 Books by The Globe and Mail.

    By March 17, 2020, the imagined was the real; New York City had closed schools, bars, and restaurants--with the rest of the country to follow.With nihilist humor and controlled despair, What to Miss When explores fears of death and grocery shopping, stress cleaning and drinking, influencers behaving badly, everything we took for granted, and life mediated by screens--with dissociation-via-internet, and looking for mirrors in a fourteenth-century pandemic text, a kind of survival response to living casually through catastrophe.

    Her arresting, edgy poems about aging and grief are surprising and invigorating: a defiant balm. At the same time, she revels in the quirkiness and whimsy of the natural world: the vision of a fly, the naming of an eggplant, and a woman who — not unhappily — finds that cockroaches are drawn to her.“God draws a life. And then begins to rub it out / with the eraser on his pencil.” Lorna Crozier draws a world in What the Soul Doesn’t Want, and then beckons us in. Crozier’s signature wit and striking imagery are on display as she stretches her wings and reminds us that we haven’t yet seen all that she can do.

    A haunted author. A horror that spans centuries. Men are disappearing from Toronto's gay village. They're the marginalized, the vulnerable. One by one, stalked and vanished, they leave behind small circles of baffled, frightened friends. Against the shifting backdrop of homophobia throughout the decades, from the HIV/AIDS crisis and riots against raids to gentrification and police brutality, the survivors face inaction from the law and disinterest from society at large. But as the missing grow in number, those left behind begin to realize that whoever or whatever is taking these men has been doing so for longer than is humanly possible.Woven into their stories is David Demchuk's own personal history, a life lived in fear and in thrall to horror, a passion that boils over into obsession. As he tries to make sense of the relationship between queerness and horror, what it means for gay men to disappear, and how the isolation of the LGBTQ+ community has left them profoundly exposed to monsters that move easily among them, fact and fiction collide and reality begins to unravel.A bold, terrifying new novel from the award-winning author of The Bone Mother.

    The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life--not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.Hardcover is un-jacketed.

    Snow and sunshine, barns and cornfields and cars on the empty nighttime roads, abandoned Minnesota lakes and the mood of America now--these are his materials. He sees and talks clearly: he uses no rhetoric nor mannered striving for effect, but instead the simple statement that in nine lines can embody a mood, reveal a profound truth, illuminate in an important way the inward and hidden life. This is a poet of the modern world, thoroughly aware of the complexities of the moment but equally mindful of the great stream of life--all life--of which mankind is only a part.

    With his other 'shorter' collections Black + Blues and Third World Poems, Middle Passages creates a kind of chisel which may well lead us into a projected third trilogy. Here is a political angle to Brathwaite's Caribbean & New World quest, with new notes of protest and lament. It marks a Sisyphean stage of Third World history in which things fall apart and everyone's achievements come tumbling back down upon their heads and into their hearts, like the great stone which King Sisyphus was condemned to keep heaving back up the same hill in hell - a postmodernist implosion already signalled by Baldwin, Patterson, Soyinka and Achebe and more negatively by V.S. Naipaul; but given a new dimension here by Brathwaite's rhythmical and 'video' affirmations. And so Middle Passages includes poems for those modern heroes who are the pegs by which the mountain must be climbed again: Maroon resistance, the poets Nicolas Guillen, the Cuban revolutionary, and Mikey Smith, stoned to death on Stony Hill; the great musicians (Ellington, Bessie Smith); and Third World leaders Kwame Nkrumah, Walter Rodney and Nelson Mandela.

    Whether the focus of the individual poems is musical, digital, or historical, the otherness implicit in being of more than one racial background guides Matejka's work to the inevitable conclusion that all things-no matter how disparate-are parts of the whole.

    Whether Jeffrey McDaniel's denouncing insomnia ("4,000 A.M."), exploring family tragedy ("Ghost Townhouse"), or celebrating love and lust ("The Biology of Numbers"), his writing is so profoundly original, so funny, twisted, and literary simultaneously, you won't know whether to laugh or cry, but you'll definitely keep reading.

    Frank Baum and the strangely resonant 1939 film. WAS traverses the American landscape to reveal how the human imagination transcends the bleakest circumstance.