The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    The book's mood is best captured in the closing lines of the title poem, which takes its name from the ship that brought the poet's mother to America: A nine-year-old girl travels all night by train with one suitcase and an orange. She learns that mercy is something you can eat again and again while the juice spills over your chin, you can wipe it away with the back of your hands and you can never get enough.

    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.

    There, an insular community of Satmar Hasidim shirk the Internet, the president and the rules of secular America, even hiding crimes within the community from police and the courts. The narrative centers on two women—the traditional heroine, a young and beautiful newlywed, who challenged her community's rules and her abuser's many supporters to throw him behind bars, and the abuser’s wife, who continues to stand beside her husband and profess his innocence. Convicted sex abuser Nechemya Weberman's 103-year sentence was a record for a Hasidic man in a Brooklyn court and a victory for Brooklyn’s longtime district attorney, who had been accused of cowtowing to religious leaders. The story also provides a rare glimpse into the cloistered Satmar Hasidic community, which claims to be the world's largest ultra-Orthodox group with 150,000 followers worldwide. Cover designed by Evan Twohy.

    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.

    This is their story--ultimately a love story--darkly funny, mournful, testy. It is about a reader who at times presides over the page like a god, and at others follows the leash of the author's voice through the dark streets of the book like a dog, and it is about a writer of determined slipperiness.  As we read, we think that each of us is The Reader, the one who knows the Real Story. But the more we think we understand, the more the story moves away from us—all is not what it seems. This eagerly awaited third volume by the poet whose work The New York Times described as "at once charmed and frightening" is a book of high-spirited subversiveness, a work of argument, seduction, and a relentless devotion to language. Then, Suddenly— bristles with the sound of the author's voice--insistent, vital, hilarious, and iconoclastic--tearing away at the confinement of the page and at the distance between the page and the reader. Emanuel's images are dazzling. She creates a performance that is fearsome and funny in its portrayal of the argument between the work of the text and the world of the body. The Gettsyburg Review has called her a writer of "exquisite craftsmanship" who can "strike from language . . . images chiseled clean as bas-relief." Then, Suddenly— is a book of spectacle and verve, part elegy, part vaudeville.

    Peopled with "ambassadors from the Netherworld"--the orphaned and abused, the lost and addicted--Cruz leads us through this "traveling minstrel show / Called girlhood--" which is at once tragic and magical.

    The title poem confronts a human ritual of marriage from the standpoint of a wedding photographer. Within the tedium and alienation of the ceremony, the speaker grapples with a strange human hopefulness. In this vein, Stone explores our everyday patterns and customs, and in doing so, exposes them for their complexities. Drawing on the neurological, scientific, psychological, and even supernatural, this collection confronts the difficulties of love and family. Stone rankles with a desire to understand, but the questions she asks are never answered simply. These poems stroll along the abyss, pointing towards the absurdity of our choices. They recede into the imaginative in order to understand and translate the distressing nature of reality. It is a bittersweet question this book raises: Why we are like this? There is no easy answer. So while we look down at our hands, perplexed, Someone Else’s Wedding Vows raises a glass to the future.

    Rankine's short, lyric poems are sharp, agonized, and exquisite, exploring themes of doubt and identity. The collection's sense of continuity and coherence comes through recurring poem types, including "still lifes," "instructions," and "symptoms."From "Symptoms of Aftermath":…When I am saved, a slim nurseleans out of the white light. I needto hear your voice, sweetheart. I seemy escape. I walk into the water.The sky is blue like the ocean,which is blue like the sky.Camille Rankine is the author of the chapbook Slow Dance with Trip Wire, selected by Cornelius Eady for the Poetry Society of America's Chapbook Fellowship. The recipient of a 2010 "Discovery" / Boston Review Poetry Prize and a MacDowell fellowship, her poetry appears in Boston Review, Denver Quarterly, Tin House, and other publications. Currently, she is assistant director of the MFA program in creative writing at Manhattanville College and lives in Harlem.

    But can they truly leave the city that's in their bones?Kate Tempest's novel reaches back through time--through tensely quiet dining rooms and crassly loud clubs--to the first time Becky and Harry meet. It sprawls through their lives and those they touch--of their families and friends and faces on the street--revealing intimacies and the moments that make them. And it captures the contemporary struggle of urban life, of young people seeking jobs or juggling jobs, harboring ambitions and making compromises.The Bricks that Built the Houses is an unexpected love story. It's about being young, but being part of something old. It's about how we become ourselves, and how we effect our futures. Rich in character and restless in perspective, driven by ethics and empathy, it asks--and seeks to answer--how best to live with and love one another.Kate Tempest, a major talent in the poetry and music worlds, sits poised to become a major novelist as well.

    It's an argument for beauty in the face of grief, loss, and chronic pain.

    Sam Sax’s A Guide to Undressing Your Monsters, a runner up for the 2013 Button Poetry Prize.

    Polyvocal poems, arias, and redacted text speak for the unheard. Philip Metres exposes our common humanity while investigating the dehumanizing perils of war and its lasting effect on our culture.From "Hung Lyres":@When the bombs fell, she could barely raiseher pendulous head, wept shrapneluntil her mother capped the firewith her breast. She teeteredon the highwire of herself. Shelay down & the armies retreated, nevershowing their backs. When she unlatchedfrom the breast, the planes took off again.Stubborn stars refused to fall . . . Philip Metres has written a number of books and chapbooks, most recently A Concordance of Leaves (Diode, 2013), abu ghraib arias (Flying Guillotine, 2011), To See the Earth (Cleveland State, 2008), and Behind the Lines: War Resistance Poetry on the American Homefront Since 1941 (University of Iowa, 2007). His work has appeared widely, including in Best American Poetry, and has garnered two NEA fellowships, the Thomas J. Watson Fellowship, four Ohio Arts Council Grants, the Anne Halley Prize, the Arab American Book Award, and the Cleveland Arts Prize. He teaches at John Carroll University in Cleveland, Ohio.

    Responding to the post-industrial landscape of rural life, Jenny George braids together regional plains poetry and the darkly fantastic imagery of medieval painting. Alluding to Goya’s grotesque bestiary, The Dream of Reason is similarly preoccupied with creatures of all kinds: tiny husks of insects, bats crawling across porches like goblins, purring moths, and pigs, in many forms. George names these creatures and documents the traumas of farm life, the role of the handlers involved, and the empathy and horror that comes with it. The collection lingers, transfixed by its strange imaginings, searching for sense in the dark.

    The world was 'somewhere inside his skull. And it hurt.' These poems and dramatic sketches, however, delight even when they hurt" -- ROSMARIE WALDROP"BORIS BY THE SEA was born when Aesop was reading Chekhov, and Chekhov was reading Nietzsche, and Nietzsche was watching The Brother From Another Planet. Actually Matvei Yankelevich wrote this book, but 'wrote' is incomplete... he seems more to inhabit this stateless, beautiful being who uses language to move his body or erase the sea: 'Boris looked over himself and realized there were many parts of him that he could not see. And only a small part of these parts was on the surface.' BORIS BY THE SEA could be a children's fable if it weren't so freakin' real, unreal, hyper-real: 'But people need each other to open each other up and see what is inside.' This is Boris--and he, like Pinnochio--has a clever master." -- ROBERT FITTERMANMatvei Yankelevich's first full-length book, BORIS BY THE SEA, is a work of existential theater that destroys the distance between puppeteer and puppet, between ego and id, between what is real and what is absurd. Consisting of prose, poems, and plays, the book creates its own world and then confronts the loneliness of having to exist within one's own creation. Like Daniil Kharms, Yankelevich has written a children's book for only the bravest of adults.