But upon settling at Redwood Apartments, a two-story cinderblock complex just off a highway in Delaware, they discover that Maribel's recovery--the piece of the American Dream on which they've pinned all their hopes--will not be easy. Every task seems to confront them with language, racial, and cultural obstacles.At Redwood also lives Mayor Toro, a high school sophomore whose family arrived from Panamá fifteen years ago. Mayor sees in Maribel something others do not: that beyond her lovely face, and beneath the damage she's sustained, is a gentle, funny, and wise spirit. But as the two grow closer, violence casts a shadow over all their futures in America.Peopled with deeply sympathetic characters, this poignant yet unsentimental tale of young love tells a riveting story of unflinching honesty and humanity that offers a resonant new definition of what it means to be an American. An instant classic is born.

    In lyric and documentary poems and essayistic fragments, Aria Aber explores the historical and personal implications of Afghan American relations. Drawing on material dating back to the 1950s, she considers the consequences of these relations—in particular the funding of the Afghan mujahedeen, which led to the Taliban and modern-day Islamic terrorism—for her family and the world at large. Invested in and suspicious of the pain of family and the shame of selfhood, the speakers of these richly evocative and musical poems mourn the magnitude of citizenship as a state of place and a state of mind. While Hard Damage is framed by free-verse poetry, the middle sections comprise a lyric essay in fragments and a long documentary poem. Aber explores Rilke in the original German, the urban melancholia of city life, inherited trauma, and displacement on both linguistic and environmental levels, while employing surrealist and eerily domestic imagery.

    Willow Wilson—already an accomplished writer on modern religion and the Middle East at just twenty-seven—leaves her atheist parents in Denver to study at Boston University, she enrolls in an Islamic Studies course that leads to her shocking conversion to Islam and sends her on a fated journey across continents and into an uncertain future.She settles in Cairo where she teaches English and submerges herself in a culture based on her adopted religion. And then she meets Omar, a passionate young man with a mild resentment of the Western influences in his homeland. They fall in love, entering into a daring relationship that calls into question the very nature of family, belief, and tradition. Torn between the secular West and Muslim East, Willow records her intensely personal struggle to forge a “third culture” that might accommodate her own values without compromising the friends and family on both sides of the divide.

    Virginia Woolf’s most autobiographical novel, To the Lighthouse (1927) revolves around the Ramsay family and their life in the summer home situated at a distance from a lighthouse, in the Hebrides, Isle of Skye in Scotland between 1910 and 1920. Enjoying the summer with their eight children, the Ramsays host an assortment of guests—Charles Tansley, an admirer of Mr. Ramsay’s work as a philosopher; Lily Briscoe, a young artist, and William Bankes, an old friend of the Ramsays, among others. Six-year-old James Ramsay wants his father to take him to the lighthouse, but Mr Ramsay keeps delaying the trip. And when the summer ends, war and death alter many realities. The journey to the lighthouse is deferred. A book of childhood desires, conflicting adult relationships, philosophical introspection, and multiple subjectivities, To the Lighthouse, divided into three sections—The Window, Time Passes, The Lighthouse—is about many journeys and an evergreen classic."

    She evokes a home no longer accessible and a body at times uninhabitable, often mirrored by a hybrid Eve/Caliban figure. Blooming with intense lyricism and fertile imagery, these full-blooded poems are elegant, mythic, and intricately woven. Here the female body is a dark landscape; the female body is cannibal. Sinclair shocks and delights her readers with her willingness to disorient and provoke, creating a multitextured collage of beautiful and explosive poems.

    Sink asks and answers hard questions about grief, lineage, death and all manner of inheritance. What is one left with when they come from a family that has nothing to its name but loss? Throughout, Dallagiacomo weighs the cost of what it is to be alive and a woman in a landscape that makes being alive and a woman uninviting. Sink approaches grief and depression not as a tourist, but instead with the power and nuance of someone who has survived and made the most of their survival.

    Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex―a combination of the sonnet, the ghazal, and the blues―testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while revelling in a celebration of contradiction.

    Now, in her most intimate and seamlessly crafted work to date, Adichie turns her penetrating eye on not only Nigeria but America, in twelve dazzling stories that explore the ties that bind men and women, parents and children, Africa and the United States.In "A Private Experience," a medical student hides from a violent riot with a poor Muslim woman whose dignity and faith force her to confront the realities and fears she's been pushing away. In "Tomorrow is Too Far," a woman unlocks the devastating secret that surrounds her brother's death. The young mother at the center of "Imitation" finds her comfortable life in Philadelphia threatened when she learns that her husband has moved his mistress into their Lagos home. And the title story depicts the choking loneliness of a Nigerian girl who moves to an America that turns out to be nothing like the country she expected; though falling in love brings her desires nearly within reach, a death in her homeland forces her to reexamine them.Searing and profound, suffused with beauty, sorrow, and longing, these stories map, with Adichie's signature emotional wisdom, the collision of two cultures and the deeply human struggle to reconcile them. The Thing Around Your Neck is a resounding confirmation of the prodigious literary powers of one of our most essential writers.

    Dajani and his swans; Sitti Khadra, who never lost her peace inside.Maybe they have something to tell us.Naomi Shihab Nye has been writing about being Arab-American, about Jerusalem, about the West Bank, about family all her life. These new and collected poems of the Middle East -- sixty in all -- appear together here for the first time.

    late 7th and early 6th centuries B.C.E.), whose work is said to have filled nine papyrus rolls in the great library at Alexandria some 500 years after her death. The surviving texts consist of a lamentably small and fragmented body of lyric poetry--among them, poems of invocation, desire, spite, celebration, resignation, and remembrance--that nevertheless enables us to hear the living voice of the poet Plato called the tenth Muse.Stanley Lombardo's translations give us a virtuoso embodiment of Sappho's voice, whose telltale charm, authority, immediacy, directness, intensity, and sudden changes of tone are among the hallmarks of his masterly translation.Pamela Gordon introduces us to the world of Sappho, discusses questions surrounding the transmission of her manuscripts, offers advice on reading these texts, and concludes with an enlightening discussion of same-sex desire in Sappho.

    The historical body of evidence that remains from the Salem witch trials of 1692 touched the hands, mind, and imagination of poet Nicole Cooley, compelling her to seek entry to an inaccessible past of lies. The Afflicted Girls, so named after the young women who claimed to be victims of witchcraft, spans the centuries to give voice to those both audible and silent on history's pages--accusers and accused of several kinds: wife and husband, servant and master, congregant and minister, and, not least, bewitched and witch. Piercing, enchanting, Cooley's poems form a remarkable narrative, one that displays the enormous cultural power the Salem witch trials retain in twenty-first-century America.

    Barbie’s cultural artifice is unmasked by Victoria Chang’s imagination, lifting the struggle of Asian American experience to mythic levels.

    Morrison's response to Sellars’ 2009 production of Othello is an intimate dialogue of words and music between Desdemona and her African nurse Barbary. Morrison gives voice and depth to the female characters, letting them speak and sing in the fullness of their hearts. Desdemona is an extraordinary narrative of words, music and song about Shakespeare’s doomed heroine, who speaks from the grave about the traumas of race, class, gender, war — and the transformative power of love. Toni Morrison transports one of the most iconic, central, and disturbing treatments of race in Western culture into the new realities and potential outcomes facing a rising generation of the 21st century.

    I used to say my favorite color was black to be cool, but it is pink—all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I’m not doing it ironically, though it might seem that way. I once live-tweeted the September issue.In these funny and insightful essays, Roxane Gay takes us through the journey of her evolution as a woman of color while also taking readers on a ride through culture of the last few years and commenting on the state of feminism today. The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture.Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better.Feel me, see me, hear me, reach me --Peculiar benefits --Typical first year professor --To scratch, claw or grope clumsily or frantically --How to be friends with another woman --Girls, girls, girls --I once was Miss America --Garish, glorious spectacles --Not here to make friends --How we all lose --Reaching for catharsis : getting fat right (or wrong) and Diana Spechler's Skinny --The smooth surfaces of idyll --The careless language of sexual violence --What we hunger for --The illusion of safety/the safety of illusion --The spectacle of broken men --A tale of three coming out stories --Beyond the measure of men --Some jokes are funnier than others --Dear young ladies who love Chris Brown --So much they would let him beat them --Blurred lines, indeed --The trouble with Prince Charming, or, He who trespassed against us --The solace of preparing fried foods and other quaint remembrances from 1960s Mississippi : thoughts on The help --Surviving Django --Beyond the struggle narrative --The morality of Tyler Perry --The last day of a young black man --When less is more --The politics of respectability --When Twitter does what journalism cannot --The alienable rights of women --Holding out for a hero --A tale of two profiles --The racism we all carry --Tragedy, call, compassion, response --Bad feminist : take one --Bad feminist : take two

    Important poems by the late New York poet published in The New American Poetry, Evergreen Review, Floating Bear and stranger places.Often O'Hara, strolling through the noisy splintered glare of a Manhattan noon, has paused at a sample Olivetti to type up thirty or forty lines of ruminations, or pondering more deeply has withdrawn to a darkened ware- or firehouse to limn his computed misunderstandings of the eternal questions of life, coexistence, and depth, while never forgetting to eat lunch, his favorite meal.