Prose. "CUNT-UPS is an explosion of textual sexuality that resists principles of formal ordering, is polyvalent in its voice and range, and as perverse in its sentence construction as its content. Its 'setting' is the mediated exchange itself, the fractured articulation of 'a female body who has sex writing about sex.' While the title might imply a gendered site of production, it also suggests a sexual/textual violence that is more than a mere 'disorganization of the senses' but a dismemberment of the gendered body as well. The text becomes a (feminist) desiring machine, its writing a prosthetic device mediating the traces of physicality, imagination, abjection, and pleasure."Throw on the switch, plug into the mediating machine, the flesh-object writes back, becomes subject, suspect, the gaze cut-up and fed back into vibrating loops of unobtainable desire."--David Buuck

    

    A pizza shop worker goes on a series of visceral dates with her gynecologist; a slighted lover coughs up a forgotten childhood toy; an artist unknowingly becomes the subject of an intrusive admirer’s lust; a woman has a heated staring contest with the world’s oldest man. Powerful and precise, Rivas’s stories highlight the unreality within the real, simultaneously evoking humor, outrage, and awe.Contest judge Rigoberto González writes: “With this marvelous collection of short stories, Rivas places her finger on that pressure point, where adventure and dangerintersect, where fantasy and reality cross wires, and where desire ebbs and flows to the delight—or chagrin—of her female protagonists. Each story, unpredictable and startling,leaves a lasting impression. A Bright and Pleading Dagger is truly a compelling and unforgettable journey into the dark but poignant experiences of women.”

    Rauan Klassnik's HOLY LAND is not a book for the faint of heart. His poems--dreamlike fables that conflate the domestic and quotidian with the dangerous and the perverse--are bathed in tears and blood: a trip to the bank becomes a journey to Auschwitz; bullets and gore find equivalence in rivers, birds and lush grass. In Klassnik's startling vision, 'the world knows what you want, and it knows what you need. It brings you bodies. And it brings you a gun.--Gary Young

    If real power begins where secrecy begins, then, as we frantically search for dick pics of Justin Bieber or our next door neighbor who we’re convinced posted the faceless Craigslist ad seeking an Asian bottom, we’re seduced into a beautiful distraction in which we are convinced, by virtue of our victorious toppling of the lives of others, that we indeed have nothing to hide.

    Brandon Scott Gorrell's debut full-length poetry book captures the feelings of small, alienated, and highly self-conscious humans who exist in an array of situations, from a very odd Halloween party to a full-scale planetary war involving humans, androids, robots, and aliens. Focusing on severe feelings of low self-worth, meaninglessness, and yearning for something unknown, Brandon Scott Gorrell--who has generated a large internet following of disenchanted youths--uses predominantly science fiction imagery in direct, deadpan prose to describe humans in need of meaning that they feel hopeless to attain. "I like these poems. I really do. They made me laugh"--Matthew Rohrer. Brandon Scott Gorrell was born in 1984 and lives in Seattle. His blog is at brandon.alien.fine.blogspot.com.

    Shock Treatment includes Karen Finley’s most provocative and acclaimed performance monologues, essays, and poems, with “The Constant State of Desire,” “We Keep Our Victims Ready,” “It's Only Art,” and “The Black Sheep.” Excoriating misogyny, homophobia, abusive families, greed, and state coercion of bodies and minds, Finley holds out hope for a world informed not by hate and fear, but by truth and unconditional love.

    Teare provides us with poems that insist on the simultaneous physical embodiment of tactile pleasure—that which is found in the textures of thought and language—as well as the action of syntax. Partly informed by an ecological imagination that leads him back to Emerson and Thoreau, Teare's method and fragmented style are nevertheless up to the moment. Remarkable in its range, Sight Map serves at once as a cross-country travelogue, a pilgrim's gnostic progress, an improvised field guide, and a postmodern "pillowbook," recording the erotic conflation of lover and beloved, deity and doubter.

    East Asia Studies. Women's Studies. Translated from the Korean by Don Mee Choi. "Her poems are not ironic. They are direct, deliberately grotesque, theatrical, unsettling, excessive, visceral and somatic. This is feminist surrealism loaded with shifting, playful linguistics that both defile and defy traditional roles for women"--Pam Brown

    "STARS OF THE NIGHT COMMUTE haunts in three dimensions, knit by a below-words rumble in the sure rhythm of dreams"—Annie Finch. "Bozicevic's poetry has everything—a mastery of language, a distinct and singular voice and a worldview so visionary and all-encompassing, so as to both terrify and astound"—Noelle Kocot. "How does she do it?"—Eileen Myles. "Absolutely anything can happen next but whatever it is, it will be perfect.... She is able to stretch language to its most ineffable and musical limits while maintaining a masterful grasp of the colloquial.... She is able to perceive with the eyes of language—then render with lyrical immediacy—the experience of our collective sleepwalking soul, who may well soon awaken to discover that its terror was not a dream"—Franz Wright.

    With a large worldwide cult following, Brown has delivered ..".a heart crushing and brilliant work of modern American classics." NYLON magazine. It contains such hits as "The Victory Explosions" and "All distortion, All the time." This collection of 49 poems sings with sincere revelations and ecstatic lust for wild, honest living.

    Kenyon's fourth collection is built around two perfectly orchestrated poem sequences. In the first, the speaker contrasts memories of her baby carriage with other images from her childhood, such as her parents' toiling away at low-paying jobs. She also recalls the present-day life of her aging, increasingly dependent mother. Melancholia, the subject of the second sequence and several poems surrounding it, has been played to death in modern poetry, but still Kenyon offers new insights and gives even the most depressing poems an uplifting lilt in their final lines. In her hands a list of the latest medications becomes fit material for poetry: "The coated ones smell sweet or have / no smell; the powdery ones smell / like the chemistry lab at school / that made me hold my breath." She writes, in addition to illness, of sleep, insomnia and death. She interacts with the insects, birds and flowers in her New Hampshire landscape, relying on their fragility to teach her of her own. Kenyon describes afterlife, or "the Other Side," with the same precise, hard-edged imagery that fills her other poems." from Publisher's Weekly

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

    A wall. Sometimes love blooms in the strangest of places... What would happen if a woman, tired of previous broken relationships, instead fell in love with her wall? Would she be spurned yet again, or would it be a match made in heaven? Gina Ranalli is the author of Suicide Girls in the Afterlife, 13 Thorns (with outsider artist Gus Fink) and Chemical Gardens.

    . . Assigned toAdventure said the motto on our buttons. The last thing we knewBefore we left with our satchels concerned how love withdrawsMoving backward taking with it everything, our names, this way.Dara Wier directs the MFA program at University of Massachusetts, Amherst. This is her ninth book, and first new collection of poetry since 2006.