Sardonic yet vulnerable, Jane toils, unappreciated, in her strict uncle’s grocery store and politely observes the traditional principle of nunchi (a combination of good manners, hierarchy, and obligation). Desperate for a new life, she’s thrilled to become the au pair for the Mazer-Farleys, two Brooklyn English professors and their adopted Chinese daughter. Inducted into the world of organic food co-ops, and nineteenth–century novels, Jane is the recipient of Beth Mazer’s feminist lectures and Ed Farley’s very male attention. But when a family death interrupts Jane and Ed’s blossoming affair, she flies off to Seoul, leaving New York far behind.Reconnecting with family, and struggling to learn the ways of modern-day Korea, Jane begins to wonder if Ed Farley is really the man for her. Jane returns to Queens, where she must find a balance between two cultures and accept who she really is.

    She considers what a homeland would be for a divided nation and a divided self: what it means to enter language, the body, the family, the community; to be a daughter, sister, lover, citizen, or exile.In settings from New York to San Francisco, from Scotland to Seoul, her poems question "what threads hold / our lives together" in cities and gardens, battlefields and small towns. Across the no-man's-land between every "you" and "I," her speakers encounter, quarrel with, or honor others, traveling between the living and the dead, between horror over the disastrous events of the past and hope for the future. Drawing upon a wide range of voices, styles, and perspectives, Notes from the Divided Country bears witness to the vanishing world.

    In this utopian world, women rule and men are content with their places in the kitchen. The queen of this kingdom explains how women won and kept their peace against men and their war-like ways.This edition of a feminist utopian classic is a conversation across time; Durga Bai, a contemporary tribal woman artist from Central India, brings her own vision to bear on a Muslim gentlewoman’s radical tale.

    Drawing on Korean legend and myth, as well as an Asian woman?s unique perspective on the United States, Lee weaves her compelling personal narrative with a collective and accessible history of modern Korea, from Japanese colonialism to war-era comfort women, from the genocide of the Korean War to the government persecution and silence of Cold War-era pogroms. The ritual of storytelling, which she shares with the women of her family, serves as a window into a five-generation family saga, and it is through storytelling that Lee comes to appreciate the sacrifices of her ancestors and her own now American place in her family and society.In To Kill A Tiger Lee provides a revelatory look at war and modernization in her native country, a story of personal growth, and a tribute to the culture that formed her.

    . . These poems literally vibrate with Kearney's precocious intellect and passion. They hum, they bang, they bite. What else can I say? I have never encountered poetry like this before."—Terrance Hayes

    It is the winner of the Noma Award.

    The title poem follows a nineteen-year-old girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence spanning the collection speaks in the voice of the international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.

    By turns seductive and self-deprecating, Women in Public navigates a world where the erotics of the body and mind do battle against the constructs that would demean and define them, using lyric, fragment, humor, and repetition to create a space flexible enough to hold the many contradictions of reality. Where expectations and desires can be piled too easily upon the body, Kahn digs in her heels, writing in attempt to liberate physical form from society's confines.Praise for Women in Public:"'Do you think that you are greater than a mom?' This is an intensely honest, honestly intense poetry. Humorous, carnal, accusatory, celebratory––Women in Public tells me to get lost so I do. When I find myself later, I'm re-reading Women in Public."––Rod Smith"In these exhilarating poems, Elaine Kahn shoots from the groin, championing a ferociousness that rages against asperity while playfully seducing the reader to misbehave. Hers is a realm where oceans beat against genitals, and Hannah Wilke warms the earth. I don’t want to let go of Women in Public for I want its boldness all to myself."––Dodie BellamyAbout the Author:Musician, poet, artist, Elaine Kahn was born in Evanston, Illinois and is currently based in Oakland, California. She received an MFA from the Iowa Writers' Workshop and a BA from California College of the Arts. Kahn is the author of three poetry chapbooks, A Voluptuous Dream During an Eclipse (2012), Customer (2010), and Radiant Bottle Caps (2008), and is a contributor to Art Papers. Her music project, Horsebladder, has toured widely throughout the U.S. and Canada. She is also co-founder of the feminist puppet troop P. Splash Collective and managing editor of the small press Flowers & Cream.

    Two of its poems were removed on order of the Ministry of the Interior for “disturbing social customs.” Along with the entirety of Howling, this volume includes all of Blue Cat, Hagiwara's second major collection, together with Cat Town, a prose-poem novella, and a substantial selection of verse from the rest of his books, giving readers the full breadth and depth of this pioneering poet's extraordinary work.

    Her poems are haunted by demons, ghosts, and even the living who wander exotic landscapes that appear at once threatening and seductive. In these poems, her sly speaker renames a pink hibiscus on display at Lowe's, "Lucifer's Panties"; another character chants, "I'd fall devil / over heels over edge over oleander"; and one woman writes a letter to the underworld:Dear black bayou, once, by a riverI bit a man's neck. His scent: the rawteak air husked inside stomachs of sixRussian nesting dolls--the ones in the attic I pulledapart and open. The ones Ipulled apart and open like Styrofoam cups.

    Among the women’s most powerful weapons in their assault is laughter, but they also threaten literary and linguistic customs of the patriarchal order with bullets. In this breathtakingly rapid novel first published in 1969, Wittig animates a lesbian society that invites all women to join their fight, their circle, and their community. A path-breaking novel about creating and sustaining freedom, the book derives much of its energy from its vaunting of the female body as a resource for literary invention."A delectable epic of sex warfare . . . an extraordinary leap of the imagination into the politics of oppression and revolt." --Mary McCarthy

    . . .A concubine at the palace learns quickly that there are many ways to capture the Emperor’s attention. Many paint their faces white and style their hair attractively, hoping to lure in the One Above All with their beauty. Some present him with fantastic gifts, such as jade pendants and scrolls of calligraphy, while others rely on their knowledge of seduction to draw his interest. But young Mei knows nothing of these womanly arts, yet she will give the Emperor a gift he can never forget.Mei’s intelligence and curiosity, the same traits that make her an outcast among the other concubines, impress the Emperor. But just as she is in a position to seduce the most powerful man in China, divided loyalties split the palace in two, culminating in a perilous battle that Mei can only hope to survive.The first volume of the Empress of Bright Moon duology paints a vibrant portrait of ancient China—where love, ambition, and loyalty can spell life or death—and the woman who came to rule it all.

    Across the book’s three sequences, we find the black-girl speaker in the midst of a self-imposed exile, going back in memory to explore her younger self—a mixed-race child being raised by her white supremacist grandfather in the shadow of Churchill Downs, Kentucky’s world-famous horseracing track—before arriving in a state of self-awareness to confront the personal and political landscape of a harshly segregated Louisville. Out of a space that is at once southern and urban, violent and beautiful, racially-charged and working-class, she attempts to transcend her social and economic circumstances. Across the collection, Priest writes a horse that acts as a metaphysical engine of flight, showing us how to throw off the harness and sustain wildness. Unlike the traditional Bildungsroman, Priest presents a non-linear narrative in which the speaker lacks the freedom to come of age naively in the urban South, and must instead, from the beginning, possess the wisdom of “the horses & their restless minds.”    FROM "RODEO"   The four-wheeler is a chariot. Horse-wraiths Kicking up a plume of spirits in the dirt behind us. Her arms kudzu around my middle. Out here,   In the desert, everything is invisible. Only the locusts’ flat buzz gives Them away. Everything native & quieting   Perennial & nighthawk black As we ride through: the cowgirls, The witch & the water sky-mirror-split,   The severity of squall lines. Also, the lips Parting air like lightning & the girl Blowing bubbles—in each one                                                 a rainbow.

    With acute irony tempered by a generous curiousity, she documents life's improbability as well as its transient beauty.

    Their parents were even once engaged to each others' partners until they rematched in what they call "the fiancée swap." But as adolescence distances the friends, Karim takes refuge in maps while Raheen searches for the secret behind her parents' exchange. What she uncovers reveals not just a family's but a country's turbulent history-and a grown-up Raheen and Karim are caught between strained friendship and fated love. A love story with a family mystery at its heart, Kartography is a dazzling novel by a young writer of astonishing maturity and exhilarating style. Shamsie transports us to a world we have not often seen in fiction-vibrant, dangerous, sensuous Pakistan. But even as she takes us far from the familiar, her story of passion and family secrets rings universally true.