Henriksen opens ORDINARY SUN by insisting that "an eye is not enough." Resisting solipsism, these poems negotiate that conflict between the mind and what exists outside the mind. Though pain intrinsically resides in that conflict Henriksen strives for an honest happiness, a kind of gorgeous suffering that blesses our days. To this end, these poems emerge from images of all those innumerable things that embody both visceral and ethereal beauty rocks, trees, broken glass, baseball, angels.... Here we find immediacy immersed in the image, and in the reading of these poems becomes ourselves immersed in the immediate."

    

    An admired contemporary of Rilke, Akhmatova, and Mandelstam, Russian poet Marina Tsvetayeva bore witness to the turmoil and devastation of the Revolution, and chronicled her difficult life in exile, sustained by the inspiration and power of her modern verse.The poems in this selection are drawn from eleven volumes published over thirty years.

    The poems weave between personal narrative and pop-cultural criticism, examining and confronting modern media, consumption, feminism, and Blackness. This collection explores femininity and race in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, and Hip Hop. The voice of this book is a multifarious one: writing and rewriting bodies, stories, and histories of the past, as well as uttering and bearing witness to the truth of the present, and actively probing toward a new self, an actualized self. This is a book at the intersections of mythology and sorrow, of vulnerability and posturing, of desire and disgust, of tragedy and excellence.

    It is where a brother’s disappearance is trivialized by local media and police because he is young and aboriginal. It is also where young girls share secrets, movies, cigarettes, Big Gulps and stories of love—where a young mother full of both maternal trepidation and joy watches her small daughters as they play in the park.“In North End Love Songs, Katherena Vermette uses spare language and brief, telling sketches to illuminate the aviary of a prairie neighbourhood. Vermette’s love songs are unconventional and imminent, an examination and a celebration of family and community in all weathers, the beautiful as well as the less clement conditions. This collection is a very moving tribute, to the girls and the women, the boys and the men, and the loving trouble that has forever transpired between us.”– Joanne Arnott“From a mixed-blood Métis woman with Mennonite roots, Kate weaves a story that winds its way through the north end (Nor-tend) of Winnipeg. It’s a story of death, birth, survival, beauty and ugliness; through it all there are glimmers of hope, strength, and a will to survive whatever this city throws at you.” – Duncan Mercredi

    She begins with “how to” poems addressing everyday matters such as being hopeful, married, divorced; shearing a sheep; praying to unreliable gods; doing nothing at all; and of course, flying. Next come rafts of poems about making peace (or not) with the complicated bonds of friendship and family, and making peace (or not) with death, in the many ways it finds us. Some poems reflect on the redemptive powers of art and poetry itself; others consider where everything begins.Closing the book are poems that celebrate natural wonders—birdsong and ghost-flowers, ruthless ants, clever shellfish, coral reefs, deadly deserts, and thousand-year-old beech trees—all speaking to the daring project of belonging to an untamed world beyond ourselves.Altogether, these are poems about transcendence: finding breath and lightness in life and the everyday acts of living. It’s all terribly easy and, as the title suggests, not entirely possible. Or at least, it is never quite finished.

    Seeking their true selves amid the fallen cathedrals of America, they speak wryly of destructive love affairs, aesthetic obsession, and encroaching war, but refuse to abandon hope in the power of imagination.

    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.

    In her haunting eighth collection inspired by articles from the weekly “Science” section of the New York Times, Hahn explores identity, extinction, and survival using exotic tropes drawn from the realms of astrophysics, mycology, paleobotany, and other rarefied fields. With warmth and generosity, Hahn mines the world of science in these elegant, ardent poems.from “On Deceit as Survival”   Yet another species resembles   a female bumble bee,   ending in frustrated trysts—   or appears to be two fractious males   which also attracts—no surprise—   a third curious enough to join the fray.   What to make of highly evolved Beauty   bent on deception as survival—

    Her writing is gorgeous and cerebral (imagine Anne Carson) but she doesn't skimp on the wit (imagine Anne Carson's ne'er-do-well niece). Poetry-fearers, don't back away from this beautiful book; these might be the pages that bring you back into the form.” --Dave Eggers

    R E D is an erasure of Bram Stoker's Dracula. A long poem in 27 chapters, R E D excavates from Stoker's text an original narrative of violence, sexual abuse, power dynamics, vengeance, and feminist rage while wrestling with the complexities of gender, transition, and monsterhood.

    Asian American Studies. "In YOU ARE NOT DEAD Wendy Xu breaks all the old rules that have never done us any favors anyway. She writes beautifully, noticing who we are, and letting us see ourselves with a little more humanity, a little more humor, a little more humility. I'm happy to have read this book."--James Tate"There's a wild and wondrous poet plundering-through our lives, collecting the oddest and most significant things, turning our thoughts toward things we couldn't have known before she turned us toward them. YOU ARE NOT DEAD is precisely how this book can get you to feel and that is an almost otherworldly power. The poet who imagines and builds these poems is irresistible."--Dara Wier"That fluctuating space between the temporary and the infinite is an erogenous zone made all the more enticing when articulated so eloquently. 'We have a lifespan and O how we live it out.' Wendy Xu's poems posit for us a future, a presence, a body resistant to the ravages of time. Mortality is a far planet. Here in Xu's work, we are passionately, and gratefully, alive."--D. A. Powell

    Every day we're the strongest we'll ever be. What doesn't kill you hasn't killed you yet." From Greek mythology to Top 40, Pavlov to Sartre, the space station to the zoo, "Everyone I Love is a Stranger to Someone" collides dark humor and unexpected sweetness.

    She's always felt there was something more out there. She still believes in the old stories.Oli is a cottonmouth kid, from the land of spirits and monsters. Like all cottonmouths, he's been cast from home. He's found a new one on the banks of the bottomless lake.Nina and Oli have no idea the other exists. But a catastrophic event on Earth, and a strange sickness that befalls Oli's best friend, will drive their worlds together in ways they haven't been in centuries.And there are some who will kill to keep them apart.Darcie Little Badger introduced herself to the world with Elatsoe. In A Snake Falls to Earth, she draws on traditional Lipan Apache storytelling structure to weave another unforgettable tale of monsters, magic, and family. It is not to be missed.

    Chronicling the complexities, joys, and challenges of this transitional phase of life, Please Don’t Go Before I Get Better is a powerful, deeply affecting work that pierces your heart with its refreshing candor and vulnerability. A poignant exploration of self-image, self-discovery, and self-reflection, this anthology brilliantly captures the universal experience of growing up, and you are bound to find yourself reflected in these glimmering pages.