From this interaction, John meets a variety of characters, each with their own values and ideas of "self-actualization." However, Liz begins to fall in love with John's best friend, and John realizes his journey of self-discovery has only just begun.

    A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.”In Bright Dead Things, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.

    Concerns about society, gender and imperialism dovetail irresistibly with flights of speculative wonder. And with a kitchen sink in the corner of even her wildest stories, Suzuki reminds us that while society may be limitless, relationships remain impossible

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    Blending allegory with historical realism and subverting expectations in an unflinching comedy of the macabre, these tales manage to be both phantasmagoric and shockingly real. For all the despair and darkness portrayed in these gripping stories—from spotlighting hostage-video makers in Baghdad to following human trafficking in Serbia's forests—what lingers more than the haunting images of war is the spirit of defiance and of indefatigable courage.

    “What is a body in a stolen country,” Yoon asks. “What is right in war.”Moving readers through time, space, and different cultures, and bringing vivid life to the testimonies and confessions of the victims,Yoon takes possession of a painful and shameful history even while unearthing moments of rare beauty in acts of resistance and resilience, and in the instinct to survive and bear witness.

    The heart of the collection is a series of autobiographical poems recalling family, school, neighborhood, and work experiences-from bouncer to tenant lawyer. There are moments of revelation and political transcendence here, which culminate in an elegy for the Puerto Rican poet Clemente Soto Velez, imprisoned for his advocacy of independence for Puerto Rico.

    His search takes him to stormy mountaintops, an experimental military weapons lab, and an old Soviet science station. The more he learns, the more he comes to realize that ball lightning is just the tip of an entirely new frontier in particle physics. Although Chen’s quest provides a purpose for his lonely life, his reasons for chasing his elusive quarry come into conflict with soldiers and scientists who have motives of their own: a beautiful army major with an obsession with dangerous weaponry, and a physicist who has no place for ethical considerations in his single-minded pursuit of knowledge.Ball Lightning, by award-winning Chinese science fiction author Cixin Liu, is a fast-paced story of what happens when the beauty of scientific inquiry runs up against a push to harness new discoveries with no consideration of their possible consequences.The original Chinese version was published in 2004. In 2018 the English version, translated by Joel Martinsen, was published in the US by Tor Books.

    Among his expansive and impressive body of work, Gitanjali is regarded as one of his greatest achievements, and has been a perennial bestseller since it was first published in 1910.

    He recounts the perilous journey of the world’s birds to the faraway peaks of Mount Qaf in search of the mysterious Simorgh, their king. Attar’s beguiling anecdotes and humor intermingle the sublime with the mundane, the spiritual with the worldly, while his poem models the soul’s escape from the mind’s rational embrace.Sholeh Wolpé re-creates for modern readers the beauty and timeless wisdom of the original Persian, in contemporary English verse and poetic prose.

    These poems bear witness to survival in the face of brutality, while also elegizing two brothers haunted by shame, two lovers hounded by death, and an America wounded by war and numbered by religion. Brown summons myth, fable, and fairytale not to merely revise the Bible—more so to write the kind of lyric poetry we find at the source of redemption—for the profane and for the sacred.

    No One Writes Back is the story of a young man who leaves home with only his blind dog, an MP3 player, and a book, traveling aimlessly for three years, from motel to motel, meeting people on the road. Rather than learn the names of his fellow travelers—or even invent nicknames for them—he assigns them numbers. There's 239, who once dreamed of being a poet, but who now only reads her poems to a friend in a coma; there's 109, who rides trains endlessly because of a broken heart; and 32, who's already decided to commit suicide. The narrator writes letters to these men and women in the hope that he can console them in their various miseries, as well as keep a record of his own experiences: "A letter is like a journal entry for me, except that it gets sent to other people." No one writes back, of course, but that doesn't mean that there isn't some hope that one of them will, someday...

    Which meant that even in the eyes of Allah, ‘forty’ held some special meaning. Something special happened at forty, something special was going to happen.For the sisters Lovely and Beauty, home is a cage. Their mother Farida Khanam never lets them out of her hawk-eyed gaze.Leesa Gazi’s Hellfire opens with Lovely's first ever solo expedition to Gausia Market on her fortieth birthday. There will be many firsts for her today, but she mustn’t forget the curfew Farida Khanam has ordained. As Lovely roams the streets of Dhaka, her mother’s carefully constructed world begins to unravel. The twisted but working arrangements of a fragile household begin to assume a macabre quality as the day progresses.Told in stark, taut prose, this grisly tale of a family born of a dark secret is one of the most scintillating debuts in contemporary Bengali literature.

    Society's retribution for her act of defiance - death - she welcomes as the only way she can finally be free.

    We listened to the Beatles, the Stones, the Doors, the Velvet Underground, the Grateful Dead, Cream, Jimi Hendrix, Janis Joplin, and Bob Dylan. We read Rimbaud, played guitars, smoked pot, fell in love, rebelled against the establishment, protested the war in Vietnam, barricaded our high school, and produced the first rock festival in our home town-a small city in a remote southwestern corner of Japan...SIXTY-NINE is a roman à clef about coming of age during a time that left its mark on baby boomers around the world-a time when we really believed we could change the world before it changed us. By turns hilarious, cynical, frivolous, and poignant, the book is infused from start to finish with Ryu Murakami's relentless energy and optimism; it simply refuses to get tedious, preachy, or "literary" for a single moment.