As the fall of the city begins, two lovers make their way through the streets to escape to a new life. Helen Adams, an American photojournalist, must take leave of a war she is addicted to and a devastated country she has come to love. Linh, the Vietnamese man who loves her, must grapple with his own conflicted loyalties of heart and homeland. As they race to leave, they play out a drama of devotion and betrayal that spins them back through twelve war-torn years, beginning in the splendor of Angkor Wat, with their mentor, larger-than-life war correspondent Sam Darrow, once Helen's infuriating love and fiercest competitor, and Linh's secret keeper, boss and truest friend. Tatjana Soli paints a searing portrait of an American woman’s struggle and triumph in Vietnam, a stirring canvas contrasting the wrenching horror of war and the treacherous narcotic of obsession with the redemptive power of love. Readers will be transfixed by this stunning novel of passion, duty and ambition among the ruins of war.

    Asian-American. Mei-mei Berssenbrugge is one of the very few poets writing in the United States today whose voice and writing style are immediately recognizable. In her new collection, NEST, the medium of her poetry continues to be the sentence. To the formalities of syntax and grammar she adds the structures of domestic architecture, isolation, health, desire, play, and family life. Her writing offers a unique poetics of metaphysics and manners. As always the poetry is sensuous and stunning, and Richard Tuttle has once again designed an arresting cover.

    These “paper daughters,” so called because fake documents gain them entry to America but leave them without legal identity, generally have no recourse. But the Occidental Mission Home for Girls is one bright spot of hope and help.Told in alternating chapters, this rich narrative follows the stories of young Donaldina Cameron who works in the mission home, and Mei Lien, a “paper daughter” who thinks she is coming to America for an arranged marriage but instead is sold into a life of shame and despair.Donaldina, a real-life pioneering advocate for social justice, bravely stands up to corrupt officials and violent gangs, helping to win freedom for thousands of Chinese women. Mei Lien endures heartbreak and betrayal in her search for hope, belonging, and love. Their stories merge in this gripping account of the courage and determination that helped shape a new course of women’s history in America.

    To enter into these poems one must be fully committed, as the poet is, to seeing this world as it is, to staying with it, moment by moment, day by day. Yet these poems hold a dark promise: this is how you can do it, but you must be fully engaged, which means you must be fully awake, you must wake up inside it. As we proceed, the how-to of the beginning poems subtly transform, as the animals (or, more specifically, the livestock) we are engaging begin to, more and more, become part of us, literally and figuratively we enter inside of that which we devour.--Nick FlynnThis is the book you want with you in the cellar when the tornado is upstairs taking your house and your farm. It's the book you want in the bomb shelter, and in the stalled car, in the kitchen waiting for the kids to come home, in the library when the library books are burned. Its instructions are clear and urgent. Rebecca Gayle Howell has pressed her face to the face of the actual animal world. She remembers everything we have forgotten. Read this! It's not too late. We can start over from right here and right now.--Marie HoweIn every one of these haunting and hungry poems, Howell draws a map for how to enter the heat and dew of the human being, naked and facing the natural world, desperate to feel. I did not realize while reading RENDER how deeply I was handing everything over.--Nikky Finney

    No One Writes Back is the story of a young man who leaves home with only his blind dog, an MP3 player, and a book, traveling aimlessly for three years, from motel to motel, meeting people on the road. Rather than learn the names of his fellow travelers—or even invent nicknames for them—he assigns them numbers. There's 239, who once dreamed of being a poet, but who now only reads her poems to a friend in a coma; there's 109, who rides trains endlessly because of a broken heart; and 32, who's already decided to commit suicide. The narrator writes letters to these men and women in the hope that he can console them in their various miseries, as well as keep a record of his own experiences: "A letter is like a journal entry for me, except that it gets sent to other people." No one writes back, of course, but that doesn't mean that there isn't some hope that one of them will, someday...

    This book would be impressive enough as a collection of finely-forged fragments, but as it weaves itself into an even more impressive whole, my hat came off. Lily Hoang writes like she has nothing to lose and everything at stake.” —Maggie Nelson“A Bestiary is a work of great subtlety, precision, intelligence, daring, and emotive keenness. It seems completely contemporary (by which I mean that it is unlike anything I’ve read and that it makes me want to change my own writerly procedures). With head¬long, reckless, improvisatory gestures, Lily Hoang prompts us to rethink what literature today can dare to aspire to. Her intellectually magnanimous book’s position on the threshold between recognizable ‘literature’ and some other vanguard form of performance/utterance made me feel happy and stimulated and dizzy (in a rapturous way) while I was reading it.” —Wayne Koestenbaum“The most perfect use of fragmentation, myth, language, fairytale, and terrible beauty that I have ever seen in my life. I’m swooning. My faith in what writing can be has been restored.” —Lidia YuknavitchLily Hoang is the author of four books, including Changing, recipient of a PEN Open Books Award. She has two novels forthcoming: Old Cat Lady and The Book of Martha and she co-edited the anthology The Force of What’s Possible: Writers on Accessibility and the Avant-Garde. She teaches in the MFA program at New Mexico State University, where she is Associate Department Head. She serves as Prose Editor at Puerto del Sol and Non-Fiction Editor at Drunken Boat.

    It is also armed with nuclear weapons. Between 150,000 and 200,000 people are being held in its political prison camps, which have existed twice as long as Stalin's Soviet gulags and twelve times as long as the Nazi concentration camps. Very few born and raised in these camps have escaped. But Shin Donghyuk did.In Escape from Camp 14, acclaimed journalist Blaine Harden tells the story of Shin Dong-hyuk and through the lens of Shin's life unlocks the secrets of the world's most repressive totalitarian state. Shin knew nothing of civilized existence-he saw his mother as a competitor for food, guards raised him to be a snitch, and he witnessed the execution of his own family. Through Harden's harrowing narrative of Shin's life and remarkable escape, he offers an unequaled inside account of one of the world's darkest nations and a riveting tale of endurance, courage, and survival.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    With her marriage shattered, Erin Belieu sifts the wreckage for the black box, the record of disaster. Propelled by a blistering and clarifying rage, she composed at fever pitch and produced riveting, unforgettable poems, such as the ten-part sequence “In the Red Dress I Wear to Your Funeral”:I root through your remains,looking for the black box. Nothing leftbut glossy chunks, a pimp’s platinumtooth clanking inside the urn. I play youover and over, my beloved conspiracy,my personal Zapruder film—look. . .When Belieu was invited by the Poetry Foundation to keep a public journal on their new website, readers responded to the Black Box poems, calling them “dark, twisted, disturbed, and disturbing” and Belieu a “frightening genius.” All true.

    One of the many Hong Kong "astronaut" fathers, he stays there to work, while the rest of the family immigrated to Canada before the 1997 Handover, when the British returned sovereignty over Hong Kong to China.As she revisits memories of her father through the years, she struggles with unresolved questions and misunderstandings. Turning to her mother and grandmother for answers, she discovers her own life refracted brightly in theirs.Buoyant, heartbreaking, and unexpectedly funny, Ghost Forest is a slim novel that envelops the reader in joy and sorrow. Fung writes with a poetic and haunting voice, layering detail and abstraction, weaving memory and oral history to paint a moving portrait of a Chinese-Canadian astronaut family.

    -- The New YorkerHeinz Insu Fenkl is the son of a German-American soldier who married a Korean woman when he was stationed near Seoul. In this haunting novel he explores the coming-of-age of an Amerasian in Korea, torn between his mother's world -- haunted by ghosts, fox demons, and the specter of Japanese occupations -- and his father's transplanted America.Young Insu grows up in the chaotic streets of Pupyong, a district in the city of Inchon, the site of General Douglas MacArthur's historic invasion. His mother trafficks in everything, skilled in manipulating the black market to support her family. Insu's arrival at the orderly American school does little to resolve the conflicts between the cultures in which he must live. He may learn the language, but his eyes will never be blue, nor his hair yellow like his father's. And always, there is the memory of his lost half-brother, the baby that his mother sacrificed to marry his father, who refused to raise another man's child.With its ghost stories, folktales, mother-father conflicts, strange joys and violent tragedies, Memories of My Ghost Brother resonates with literary works like Maxine Hong Kingston's The Woman Warrior, Jerzy Kosinski's The Painted Bird, and Gus Lee's China Boy. Evocative and compelling, and introducing a unique new voice in American fiction, Memories of My Ghost Brother provides a rare, beautiful, and sometimes painful glimpse of the creation of one young man's identity.

    It offers humorous reflection upon our species' endless attempts to transmit insight regarding our human condition.

    Taking us into a landscape most of us have never before seen, award-winning journalist Barbara Demick brings to life what it means to be living under the most repressive totalitarian regime today—an Orwellian world that is by choice not connected to the Internet, in which radio and television dials are welded to the one government station, and where displays of affection are punished; a police state where informants are rewarded and where an offhand remark can send a person to the gulag for life. Demick takes us deep inside the country, beyond the reach of government censors. Through meticulous and sensitive reporting, we see her six subjects—average North Korean citizens—fall in love, raise families, nurture ambitions, and struggle for survival. One by one, we experience the moments when they realize that their government has betrayed them.  Nothing to Envy is a groundbreaking addition to the literature of totalitarianism and an eye-opening look at a closed world that is of increasing global importance.

    With topics such as frustration with our social and natural world, these poems openly question the self and place and how private experiences like motherhood and sorrow necessitate a deeper engagement with public life and history.From "The Winter's Wife":I want wild roots to prosperan invention of blooms, each unknownto every wise gardener. If I could bea color. If I could be a questionof tender regard. I know crabgrassand thistle. I know one algorithm:it has nothing to do with repetitionor rhythm. It is the route from numberto number (less to more, moreto less), a map drawn by proof not faith. Unlike twilight, I do notconclude with darkness. I conclude.

    In an instant, their fates are connected—and from this encounter unfolds a saga that spans half a century.In the aftermath, a young girl named Jade is sold by her family to Miss Silver’s courtesan school, an act of desperation that will cement her place in the lowest social status. When she befriends an orphan boy named JungHo, who scrapes together a living begging on the streets of Seoul, they form a deep friendship. As they come of age, JungHo is swept up in the revolutionary fight for independence, and Jade becomes a sought-after performer with a new romantic prospect of noble birth. Soon Jade must decide whether she will risk everything for the one who would do the same for her.From the perfumed chambers of a courtesan school in Pyongyang to the glamorous cafes of a modernizing Seoul and the boreal forests of Manchuria, where battles rage, Juhea Kim’s unforgettable characters forge their own destinies as they wager their nation’s. Immersive and elegant, Beasts of a Little Land unveils a world where friends become enemies, enemies become saviors, heroes are persecuted, and beasts take many shapes.