This book addresses a range of matters affecting Singaporeans in a personal way. It reflects her personality, profession, relationships, passions and perspective of life, Singapore and the world, and her loved ones. The chapters are grouped thematically and are capped by an epilogue of six articles which encapsulate the two events that had a major impact on the writer, and resonated deeply with Singaporeans: the passing of her parents.

    By turns searing and meditative, these are lyrics concerned with the matter of the world, its physicality, but also attuned to the proximity of each moment, each thing, to the spiritual.Here, there is sex, grief, and loss, but also a committed dedication to life, hope and renewal. Drawing on the religious, the sacred and the profane, this is a collection in which men meet in the woods, where matter is corrupted and remade. There are prayers, hymns, vespers, incantations, and longer poems which attempt to propel themselves towards the transcendent.In this book, there is always the sense of fragility allied with strength, a violence harnessed and unleashed. The collection ends with a series of elegies for the poet’s father: in the face of despair, we are met with a fierce brightness, and a reclamation of the spiritual. ‘This is when / we make God, and speak in his voice.’Paying close attention to altered states and the consolations and strangeness of the natural world, this is the first book from a major poet.

    But a secret Jason has been keeping from his sister threatens to tear the siblings apart…right when they need each other most. Scott is waiting to hear about his girlfriend, Aimee, who was on a bus with her theater group when the bridge went down. Their relationship has been rocky, but Scott knows that if he can just see Aimee one more time, if she can just make it through this ordeal and he can tell her he loves her, everything will be all right. And then there’s Skyler, whose sister Kate—the sister who is more like a mother, the sister who is basically Skyler’s everything—was crossing the bridge when it collapsed. As the minutes tick by without a word from the hospital staff, Skyler is left to wonder how she can possibly move through life without the one person who makes her feel strong when she’s at her weakest.

    . . Like Frida Kahlo's painting--impossible to look away from. --Kai Maristed, Los Angeles TimesAt the age of eighteen, Frida Kahlo's life was transformed when the bus in which she was riding was hit by a trolley car. Pierced through by a steel handrail and broken in many places, she entered a long period of convalescence during which she began to paint self-portraits.A vibrant series of prose poems, Beauty Is Convulsive is a passionate meditation on Frida Kahlo, one of the twentieth century's most compelling artists. Carole Maso brings together pieces from Kahlo's biography, her letters, medical documents, and her diaries to assemble a text that is as erotic, mysterious, and colorful as one of Kahlo's paintings.

    Exploring love, language and land, van Neerven flexes their distinctive muscles and shines a light on Australia's unreconciled past and precarious present with humour and heart. Van Neerven is unsparing in the interrogation of colonial impulse, and fiercely loyal to telling the stories that make us who we are.

    These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet's gaze - whether on the natural world or the details of his own life - is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour. Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in "The Wrecking Light" pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems - certainties become volatile, the simplest situations thicken with strangeness and threat - all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson's trademark. This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today.