The colony where she had grown up, her family, was gone, dead under circumstances the authorities seemed keen to hide. To find the truth, Kaya must team up with a mercenary and a rag-tag group of smugglers. And the truth is something which will change her life forever.

    After his exasperated wife, Victoria, leaves him, Ed finds consolation where he has always found it, in his own rich and eccentric imagination. Pursued by the demons of his own obsession, Ed embarks on a quixotic quest to find Victoria. As he prowls the city’s parking garages and motel strips, Ed begins a journey back into his past and is forced – most reluctantly – to confront the web of lies and self-deceptions he has woven to keep reality at bay – until even his fantasies start to turn against him. Keenly observant, humane, and darkly comic, My Present Age is an irresistible story about what happens when an Everyman becomes a casualty of modern life.

    "The Himalayas Within Him" finds Heart worrying about the sound of his own heartbeat, wondering why it doesn't "blare like a quartet of trombones" as it reflects his "ardent complexity." In "Goodbye to the Hands That Have Touched Him" Heart, after suffering many sleepless nights, decides "that love exists at the root of his problems. Without love his path would be as smooth as a plate of glass and he'd sleep like a kitten." Dividing the Heart poems is the long "Oh, Immobility, Death's Vast Associate, " a jazzy disquisition on human isolation and inaction in the midst of a planet full of people feeling similarly. Throughout Pallbearers Envying the One Who Rides Dobyns has painstakingly sculpted straight-forward language into a distinct sound, creating an unforgettable collection of poems that offers readers unexpected revelations about the complexities of the heart.

    This rich selection - made by the author - exhibits those qualities in poem after poem, reflecting, moreover, an exciting experimentation with rhythm and language and a movement toward an embrace beyond the personal. Subjects are revisited - the pain of childhood, adolescent sexual stirrings, the fulfilment of marriage, the wonder of children - but each re-casting penetrates ever more deeply, enriched by new perceptions and conceits. A powerful distillation of the best work from one of America's most gifted and widely read poets, drawn from her seven published volumes, this is a testament to a remarkable writer's depth, range and continuing development.

    Rogue & Kat Savage.

    Poems that range in style from starkly concrete to limber break down the barriers that prevent understanding of what it means to be racialized. Shraya paints the face of everyday racism with words, rendering it visible, tangible, and undeniable.

    Pascal Quignard recently received the Prix Goncourt, France's most prestigious literary prize, for his work. In ON WOODEN TABLETS, Quignard takes on the persona of a fourrth century Roman Patriarcian Matron who writes notes on wooden tablets, somewhat in the manner of Sei Shonagon's Pillow Book. She notes erotic souvenirs, jokes, scenes that have touched her, but also accounts and lists of things to do. For twenty years, "Apronenia Avitia" keeps this journal without mentioning, except in passing, the ruinous events she witnesses: the Roman Empire is crumbling, invaded by the "Barbarians" from the North as well as infiltrated from within by the Christian "party." Perhaps she does not see. Perhaps she does not want to see. Translated from the French by Bruce X.

    'Darling' brings together many favourite poems from Kay's four collections, 'The Adoption Papers, 'Other Lovers', 'Off Colour' and 'Life Mask', as well as featuring new work, some previously uncollected poems, and some lively poetry for younger readers.

    . . 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.

    Luminous, resonant and profound, these poems trace the dying days of summer, ‘the hour of rust’, when memory is haunted by loss and decay. But in the silence that follows, as the soul is cast adrift, there is also reconciliation with the transience of all things; the knowledge that there is a place, ‘changeable, that will not betray’.

    These poems—set in a town that straddles Mexico and Arizona—are lyric adventures, crossing two and three boundaries as easily as one, between cultures, between languages, between senses. Drawing upon fable, parable, and family legend, Ríos utilizes the intense and supple imagination of childhood to find and preserve history beyond facts: plastic lemons turning into baseballs, a grandmother’s long hair reaching up to save her life, the painted faith jumpers leaping to the earth and crowd below. This is magical realism at its shimmering best. The smallest muscle in the human body is in the ear. It is also the only muscle that does not have blood vessels; It has fluid instead. The reason for this is clear: The ear is so sensitive that the body, if it heard its own pulse, Would be devastated by the amplification of its own sound. In this knowledge I sense a great metaphor, But I do not want to be hasty in trying to capture or describe it. Words are our weakest hold on the world. —from "Some Extensions of the Sovereignty of Science" "Ríos is onto something new in his poetry—in the way that the real poets of any time always are."—American Book Review Alberto Ríos teaches at Arizona State and is the author of eight books of poetry, three collections of short stories, and a memoir about growing up on the Mexican border. He is the recipient of numerous awards and his work is included in over 175 national and international literary anthologies. His work is regularly taught and translated, and has been adapted to dance and both classical and popular music.

    He aims an anthropological eye at the realities of everyday life to show how they house the violence that continues to reverberate from the long twentieth century. In a genre-bending constellation of poetry, photography, redaction, and poetics, Belcourt ultimately argues that if signifiers of Indigenous suffering are everywhere, so too is evidence of Indigenous peoples’ rogue possibility, their utopian drive.In NDN Coping Mechanisms: Notes from the Field, the poet takes on the political demands of queerness, mainstream portrayals of Indigenous life, love and its discontents, and the limits and uses of poetry as a vehicle for Indigenous liberation. In the process, Belcourt once again demonstrates his extraordinary craft, guile, and audacity, and the sheer dexterity of his imagination.