Entered into evidence is Ms. Lincoln's claim that every night a Savage Indian enters her bedroom and slashes her face and scalp. She is swiftly committed to Bellevue Place Sanitarium. Her hauntings may be a reminder that in 1862, President Lincoln ordered the hanging of thirty-eight Dakotas in the largest mass execution in United States history. No one has ever linked the two events--until now. Savage Conversations is a daring account of a former first lady and the ghosts that tormented her for the contradictions and crimes on which this nation is founded.

    They find no fingerprints, no footprints, and no obvious means to enter the locked building. Monique discovers that a portion of an ancient and deformed skeleton had also been stolen from the neglected museum archives. Her uncle, the spiritual leader Leroy Bear Red Ears, concludes that the stolen remains are those of Hatak haksi, a witch and the matriarch of the Crow family, a group of shape-shifting Choctaws who plan to reestablish themselves as the powerful creatures they were when the tribe lived in Mississippi. Monique, Leroy, and Chris must stop the Crows, but to their dread, the entities have retreated to the dark and treacherous hollow in the center of Chalakwa Ranch. The murderous shape-shifters believe the enormous wild hogs, poisonous snakes, and other creatures of the hollow might form an adequate defense for Hatak haksi. But what no one counts on is the unexpected appearance and power of the Old Ones who guard the lands of the Choctaw afterlife. Blending tribal beliefs and myths into a modern context, The Hatak Witches continues the storyline of Choctaw cosmology and cultural survival that are prominent in Devon A. Mihesuah’s award-winning novel, The Roads of My Relations.

    The title of the book refers to the forty acres of Montana land Welch?s father once leased from a Blackfeet family called Earthboy. This land and its surroundings shaped the writer?s worldview as a youth, its rawness resonates in the vitality of his elegant poetry, and his verse shows a great awareness of a moment in time, of a place in nature, and of the human being in context. Deeply evoking the specific Native American experience in Montana, Welch?s poems nonetheless speak profoundly to all readers. With its new introduction, this vital work that has influenced so many American writers is certain to capture a new generation of readers.

    . . " In words drawn from urban and Navajo perspectives, Sherwin Bitsui articulates the challenge a Native American person faces in reconciling his or her inherited history of lore and spirit with the coldness of postmodern civilization.Shapeshift is a collection of startling new poetry that explores the tensions between the worlds of nature and man. Through brief, imagistic poems interspersed with evocative longer narratives, it offers powerful perceptions of American culture and politics and their lack of spiritual grounding. Linking story, history, and voice, Shapeshift is laced with interweaving images—the gravitational pull of a fishbowl, the scent of burning hair, the trickle of motor oil from a harpooned log—that speak to the rich diversity of contemporary Diné writing."Tonight, I draw a raven's wing inside a circle measured a half second before it expands into a hand. I wrap its worn grip over our feet As we thrash against pine needles inside the earthen pot." With complexities of tone that shift between disconnectedness and wholeness, irony and sincerity, Bitsui demonstrates a balance of excitement and intellect rarely found in a debut volume. As deft as it is daring, Shapeshift teases the mind and stirs the imagination.

    Feshtig. Through the therapist's detailed notes, correspondence from the church, and the provost himself, the provost's sickness emerges and the reader is drawn into the disturbing inner workings of a violent pedophile.The provost relays his crimes in excruciating detail. 'God told me that where evil made its mark, good must follow, burning evil out and purifying the body.' Fochs describes a dream in which he sodomizes two boys from the parish in an effort to exorcise their sins. Soon thereafter, two boys come forward accusing Fochs of that very deed. In another dream he strangles and dismembers a young girl in the woods near his house, where a child from his parish is later found.As the provost's dreams are discovered to be reality and accusations against him are made public, the church is forced to respond. In an effort to protect one of its own, and, in turn, to protect itself, the Committee for the Strengthening of the church demands that Dr. Feshtig turn over his notes about Provost Fochs. This marks the beginning of the church's all-out effort to cover up for the provost -- and launches the race to the novel's final revelation of whether good, in the form of the law, or evil, in the hands of the provost (and by association the church), will prevail.Brian Evenson holds the reader to the page until the novel's fateful end. En route, he questions whether obedience to God justifies taking every possible liberty, right or wrong. And he brings to light how an institution supposed to be under divine guidance can be as eager as its worldly counterpart to soil its hands in the furthering of the cause of supposed righteousness.

    His third book in a decade, Some Values of Landscape and Weather revives poetic architectures such as elegy, song and litany, to build what he calls "a comprehensive music." Here musical and pictorial values perform against a backdrop of political, social and ethical values. These intense and exacting poems traverse a landscape of cultural memory that opens into the explosive, vibrant registers of the now. John Ashbery has written that Gizzi's poems are "simultaneously all over the page and right on target. He is the most exciting poet to come along in quite a while."

    Erdrich applies her rich inventive voice and fierce wit to the deforming effects of harassment and oppression. Little Big Bully begins with a question asked of a collective and troubled we - how did we come to this? In answer, this book offers personal myth, American and Native American contexts, and allegories driven by women's resistance to narcissists, stalkers, and harassers. These poems are immediate, personal, political, cultural, even futuristic object lessons. What is truth now? Who are we now? How do we find answers through the smoke of human destructiveness? The past for Indigenous people, ecosystem collapse from near-extinction of bison, and the present epidemic of missing and murdered Indigenous women underlie these poems. Here, survivors shout back at useless cautionary tales with their own courage and visions of future worlds made well.

    Widely regarded as one of the country's most important Native American poets, Ortiz has led a thirty-year career marked by a fascination with language—and by a love of his people. This omnibus of three previous works offers old and new readers an appreciation of the fruits of his dedication.Going for the Rain (1976) expresses closeness to a specific Native American way of life and its philosophy and is structured in the narrative form of a journey on the road of life. A Good Journey (1977), an evocation of Ortiz's constant awareness of his heritage, draws on the oral tradition of his Pueblo culture. Fight Back: For the Sake of the People, For the Sake of the Land (1980)—revised for this volume—has its origins in his work as a laborer in the uranium industry and is intended as a political observation and statement about that industry's effects on Native American lands and lives. In an introduction written for this volume, Ortiz tells of his boyhood in Acoma Pueblo, his early love for language, his education, and his exposure to the wider world. He traces his development as a writer, recalling his attraction to the Beats and his growing political awareness, especially a consciousness of his and other people's social struggle. "Native American writers must have an individual and communally unified commitment to their art and its relationship to their indigenous culture and people," writes Ortiz. "Through our poetry, prose, and other written works that evoke love, respect, and responsibility, Native Americans may be able to help the United States of America to go beyond survival."

    Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.

    Luke is a Vietnam veteran who has survived the war but is having "trouble/surviving the peace" on a reservation where everyone is broke and where the tribal government seems to work against the interests of the reservation folk. Throughout Walking the Rez Road, it is humor that holds the people and their community together. Winner, Midwest Book Achievement Award, Minnesota Book Award, Northeastern Minnesota Book Award.

    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."

    Her poems take us to the flip side of human consciousness, where anything can happen at any time. Tinged with surrealism, her work makes visionary leaps from the quotidian to sudden, surprising epiphanies.

    Leaving her children behind in the real world, the busier world, she has chosen to spend her last years alone in the mountains in Kasauli, in a secluded bungalow called Carignano.Until one summer her great-granddaughter Raka is dispatched to Kasauli and everything changes. Nanda is at first dismayed at this break in her preciously acquired solitude. Fiercely taciturn, Raka is, like her, quite untamed. The girl prefers the company of apricot trees and animals to her great-grandmother's, and spends her afternoons rambling over the mountainside. But the two are more alike than they know. Throughout the hot, long summer, Nanda's old, hidden dependencies and wounds come to the surface, ending, inevitably, in tragedy.Marvellous yet restrained, Fire on the Mountain speaks of the past and its unshakable hold over the present.

    The ghazal form is well-known in Islamic culture, but only now finding its way into the literary culture of the West. Each stanza of three lines amounts to a finished poem. “God crouches at night over a single pistachio. / The vastness of the Wind River Range in Wyoming / Has no more grandeur than the waist of a child.”The ghazal’s compacted energy is astounding. In a period when much American poetry is retreating into prosaic recordings of daily events, these poems do the opposite. My Sentence Was a Thousand Years of Joy is Robert Bly’s second book of ghazals. The poems have become more intricate and personal than they were in The Night Abraham Called to the Stars, and the leaps even more bold. This book includes the already famous poem against the Iraq War, “Call and Answer”: “Tell me why it is we don¹t lift our voices these days / And cry over what is happening.” The poems are intimate and yet reach out toward the world: the paintings of Robert Motherwell, the intensity of Flamenco singers, the sadness of the gnostics, the delight of high spirits and wit.Robert Bly is writing the best poems of his life, and this book reestablishes his position as one of the greatest poets of our era. After many years of free verse in American poetry, years which have been very fertile, the inventive ghazal helps the imagination to luxuriate in a form once more. We are seeing a poetry emerge that is recovering many of the great intensities that modern art and poetry has aimed at and achieved in earlier generations.

    The Boston-based writer has found his stronghold in the world of social media under the moniker of High Poets Society. His writing is most recognized for its mesmerizing rhyme scheme and clever wordplay.