In this sequence of memoir-esque poems, Sierra DeMulder pulls at the threads of a past abusive relationship and the long road to forgiveness. The poems themselves become an act of recovery and reclamation, wherein the poet finds again the voice which was taken from her. These are hard poems, made up of clarity and healing, which attempt to share some of their peace with the world.

    Mal porque tengo miedo. Miedo porque yo era como t�, llena de ideas y verdad, y por mi sabidur�a lo perd� todo. T� no eres Malcriada. Lo que pasa es que tu sabes demasiado." __In the middle of the Caribbean Sea, aboard an illegal voyage from the Dominican Republic to Puerto Rico, a twelve year old learns her name; a former cacao farmer finds a constellation on his lover's thighs; best friends become strangers and find the essence of themselves in the face of deception; an old man exchanges his homeland for a New York City bodega storefront; preteen boys grapple with authority; female cousins come to terms with their first shared sexual experience; an alcoholic woman finds serenity at the bottom of the sea; feminism is deconstructed by opposing views; on the back of a motorcycle, self-awareness is found; and a woman discovers that healing is a series of choices.__ "My mother didn't teach me dependency, I want to yell and enunciate. I cannot force myself to need you. Mami taught me to use my tongue like a sword, and I haven't sharpened it in years. Too afraid, I find myself, to pain him, to say things that might strike him the wrong way. Some feelings just don't translate. " __ " You know that Malcriadas can love the world awake."

    Here, using the cuts of the cow as a metaphor Miller, explores addiction, family & tragedy.Butcher takes the body of a cow and cleaves it into 5 parts: envisioning the cuts as relationship with family members and social forces. Her Mother the rib, her Brother the brisket, her queerness as the tongue and cheek. Butcher is raw and tender. It’s a book that tells the story of a woman who redefined success after losing the most valuable thing to her.

    He aims an anthropological eye at the realities of everyday life to show how they house the violence that continues to reverberate from the long twentieth century. In a genre-bending constellation of poetry, photography, redaction, and poetics, Belcourt ultimately argues that if signifiers of Indigenous suffering are everywhere, so too is evidence of Indigenous peoples’ rogue possibility, their utopian drive.In NDN Coping Mechanisms: Notes from the Field, the poet takes on the political demands of queerness, mainstream portrayals of Indigenous life, love and its discontents, and the limits and uses of poetry as a vehicle for Indigenous liberation. In the process, Belcourt once again demonstrates his extraordinary craft, guile, and audacity, and the sheer dexterity of his imagination.

    Twelve years later, he left school frozen at the emotional age of seven. He was confused, angry and conflicted, on a path of self-destruction. At age 29, he emerged from this blackness. By age 32, he had graduated from the Civil Engineering Program at the Northern Alberta Institute of Technology and begun a journey of self-exploration and healing.In this powerful and poignant memoir, Ted examines the impact of his psychological, emotional and sexual abuse, the loss of his language and culture, and, most important, the loss of his family and community. He goes beyond details of the abuses of Native children to relate a unique understanding of why most residential school survivors have post-traumatic stress disorders and why succeeding generations of First Nations children suffer from this dark chapter in history.Told as remembrances described with insights that have evolved through his healing, his story resonates with his resolve to help himself and other residential school survivors and to share his enduring belief that one can pick up the shattered pieces and use them for good.

    Wright argues for poetry as a way of being and seeing, and calls it "the one arena where I am not inclined to crank up the fog machine." Wright's passion for the genre is pure inspiration, and in her hands the answer to the question of poetry is poetry.From "In a Word":I love the nouns of a time in a place, where a sack once was a poke and native skag was junk glass not junk and junk was just junk not smack and smack entailed eating with your mouth open, and an Egyptian one-eye was an egg, sunny side up, and a nation sack was a flannel amulet, worn only by women, to be touched only by women, especially around Memphis. Red sacks for love and green for money…C.D. Wright's most recent volume, One With Others, was a National Book Award finalist. Among her many honors are the Griffin Poetry Prize and a MacArthur Fellowship. She teaches at Brown University and lives outside of Providence, Rhode Island.

    Nicholas Wolterstorff discusses what it is to have a right, and he locates rights in the respect due the worth of the rights-holder. After contending that socially-conferred rights require the existence of natural rights, he argues that no secular account of natural human rights is successful; he offers instead a theistic account. Wolterstorff prefaces his systematic account of justice as grounded in rights with an exploration of the common claim that rights-talk is inherently individualistic and possessive. He demonstrates that the idea of natural rights originated neither in the Enlightenment nor in the individualistic philosophy of the late Middle Ages, but was already employed by the canon lawyers of the twelfth century. He traces our intuitions about rights and justice back even further, to Hebrew and Christian scriptures. After extensively discussing justice in the Old Testament and the New, he goes on to show why ancient Greek and Roman philosophy could not serve as a framework for a theory of rights. Connecting rights and wrongs to God's relationship with humankind, Justice not only offers a rich and compelling philosophical account of justice, but also makes an important contribution to overcoming the present-day divide between religious discourse and human rights.

    From a stunning double crown sonnet, to erasure poetry contained within DNA testing results, the poems in this collection are as wide-ranging in form as they are bountiful in wordplay and truth. In her poem 'The Shop at Monticello,' she writes: 'I’m a black body in this Commonwealth, which turned black bodies/ into money. Now, I have money to spend on little trinkets to remind me/ of this fact. I’m a money machine & my body constitutes the common wealth.' Speaking to history, loss, and injustice with wisdom, innovation, and a scientific determination to find the poetic truth, White Blood plants Petrosino’s name ever more firmly in the contemporary canon.

    Not since Saint Augustine wrote "Give me chastity, Lord -- but not yet!" has anyone brought such smart-assed hilarity to a conversion story.Karr's battle is grounded in common loss (a bitter romance, friends' deaths, a teenage son's leaving home) as well as in elegies for a complicated mother. The poems disarm with the arresting humor familiar to readers of her memoirs, The Liars' Club and Cherry. An illuminating cycle of spiritual poems have roots in Karr's eight-month tutelage in Jesuit prayer practice, and as an afterword, her celebrated essay on faith weaves the tale of how the language of poetry, which relieved her suffering so young, eventually became the language of prayer. Those of us who fret that poetry denies consolation will find clear-eyed joy in this collection.

    And like his best work to date, these poems create new experiences with language owed to Jackson’s willingness to once again seek a rhythmic sound that expresses the unique realities of the twenty-first century with humor and understanding. Whether set in Nairobi, Madrid, or Greece, the poems are sensuously evocative and unapologetically with-it, in their effort to build community across borders of language and style.From Urban Renewal, “The Dadaab Suite”:I have come to Dadaab like an actoron a press release, unprepared for the drained facesof famine-fleeing refugees, my craft’s glamourdimmed by hundreds of infant graves, childrenwhose lolling heads’ final drop landed on their mothers’backs like soft stones. What beauty can I spell inthis swelter of dust?

    He wanted to go; she wanted to stay. They both learn, grow, and change as a new level of freedom evolves.This book is light-hearted and humorous but at the same time serious. While not a How-To book, it gives lots of basic information about RVing. And while not a travelogue, it touches upon many travel destinations in the United States and Canada. On deeper levels, the book is about marital relationships, retiring and getting old, and finding a new kind of freedom through a minimalistic lifestyle.After reading this book, you’ll never again look at one of those huge monstrosities driving down the road in quite the same way. The book answers questions for non-RVers and triggers chuckles of recognition from experienced RVers.What Others Are Saying:When his RV dream rear-ends her perfectly mapped-out retirement, navigating through their travails and travels - in life and on the road - spins a romantic and humorous adventure. - Doreen Orion, author of Queen of the Road

    From this plain and terrible fact springs Elizabeth Catte’s Pure America, a sweeping, unsparing history of eugenics in Virginia, and by extension the United States. Virginia’s twentieth-century eugenics program was not the misguided initiative of well-meaning men of the day, writes Catte, with clarity and ferocity. It was a manifestation of white supremacy. It was a form of employment insurance. It was a means of controlling “troublesome” women and a philosophy that helped remove poor people from valuable land. It was cruel and it was wrong, and yet today sites where it was practiced like Western State Hospital, in Staunton, VA, are rehabilitated as luxury housing, their histories hushed up in the service of capital. As was amply evidenced by her acclaimed 2018 book What You Are Getting Wrong About Appalachia, Catte has no room for excuses; no patience for equivocation. What does it mean for modern America, she asks here, that such buildings are given the second chance that 8,000 citizens never got? And what possible interventions can be made now, repair their damage?

    Bhagwan Shree Rajneesh, whose commune was responsible for the largest biological attack on U.S. soil, preached that children were hindrances and encouraged sterilizations among his followers. Luckily Ronit's father, who'd left the family the previous year, stepped up and brought the girls to live with him first in Newark, New Jersey, and later in Flushing, Queens. On the surface, his nurturing was the balm Ronit sought, but she soon paid a second emotional price, taking on the role of partner and confidant to him, and substitute mother to her sister. By the end of her childhood, Ronit would discover she had lost her mother and the close and trusting relationship she once had with her father. Though they have now reconciled, for years she grappled with the toll her mother's leaving took, measuring her self-worth and capacity for love by that absence.When She Comes Back is the story of a family trying to find itself, grownups who don't know how to be adults, and what happens when the person your life revolves around can't stay. It's also a story of resilience and reconciliation, how rejection by the most important person in Ronit's life ultimately led to an unflagging commitment to, and love for her own children.

     Criminal attorney Max Harrison takes on a case for an old school friend, Wayne Snowden. Wayne has been charged with the attempted murder of an old flame, but it quickly becomes evident that the prosecution is not interested in this conviction. So why are they still pressing ahead with the charge? What is Wayne hiding? This thrilling legal short story will take you for a ride through the courtroom and leave you with twists and turns that you didn’t see coming.

    Claiming that science has created a largely fictional scenario for American Indians in prehistoric North America, Deloria offers an alternative view of the continent's history as seen through the eyes and memories of Native Americans. Further, he warns future generations of scientists not to repeat the ethnocentric omissions and fallacies of the past by dismissing Native oral tradition as mere legends.