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.

    This extraordinary life meanders through a rich, complicated, bittersweet world. The discoveries of childhood give way to the thousand pangs of adolescence, culminating in the sudden shocking news of an accident abroad. And as adulthood begins, indecisively, boundaries are crossed between countries, languages and people . . .

    

    Hard to imagine that no one counts,that only things endure.Unlike the seasons, our shirts don't shed,Whatever we see does not see us,however hard we look,The rain in its silver earrings against the oak trunks,The rain in its second skin.--from "Scar Tissue II"In his new collection, the Pulitzer Prize-winning poet Charles Wright investigates the tenuous relationship between description and actuality--"thing is not an image"--but also reaffirms the project of attempting to describe, to capture the natural world and the beings in it, although he reminds us that landscape is not his subject matter but his technique: that language was always his subject--language and "the ghost of god." And in the dolomites, the clouds, stars, wind, and water that populate these poems, "something un-ordinary persists."Scar Tissue is a groundbreaking work from a poet who "illuminates and exalts the entire astonishing spectrum of existence" (Booklist).

    So she is elated to learn she is to become the second wife of a wealthy Sikh landowner in a union beneficial to both. For Sardaji’s first wife, Satya, has failed to bear him children. Roop believes that she and Satya, still very much in residence, will be friends. But the relationship between the older and younger woman is far more complex. And, as India lurches toward independence, Sardarji struggles to find his place amidst the drastic changes.Meticulously researched and beautifully written, What the Body Remembers is at once poetic, political, feminist, and sensual.

    Peter’s own journey is obstructed by playground bullies, masochistic lovers, Christian ex-gays, and the ever-present shadow of his Chinese father.At birth, Peter had been given the Chinese name Juan Chaun, powerful king. The exalted only son in the middle of three daughters, Peter was the one who would finally embody his immigrant father's ideal of power and masculinity. But Peter has different dreams: he is certain he is a girl.Sensitive, witty, and stunningly assured, Kim Fu’s debut novel lays bare the costs of forsaking one’s own path in deference to one laid out by others. For Today I Am a Boy is a coming-of-age tale like no other, and marks the emergence of an astonishing new literary voice.

    Their first chapbook Sad Girl Poems delves into their relationship with domestic violence, queer youth homelessness, & the suicide of a close friend. Of the chapbook, Eileen Myles wrote "Sad Girl Poems are revolutionary and sad and finely wrought on the fly… I keep reading, needing to be living in the world of them.” CAConrad wrote “You are an asshole if you read this book and are not destroyed and renewed and see through the poet Loma a way to redemption for us all.” Christopher Soto is originally from the Los Angeles area but now lives in Brooklyn.

    Diagnosed with stage 4B pancreatic cancer at the age of forty-five, he died four months later, leaving behind a grieving family. Martin was an extraordinary pianist who debuted at the Royal Festival Hall in London at the age of twenty, later becoming a piano teacher and senior examiner at the Royal Conservatory of Music. The two siblings, though often living far apart, were bonded on many levels.Now Humphreys has written a deeply felt, haunting memoir both about and for her brother. Speaking directly to him, she lays bare their secrets, their disagreements, their early childhood together, their intense though unspoken love for each other. A memoir of grief, an honest self-examination in the face of profound pain, this poetic, candid and intimate book is an offering not only to the memory of Martin but to all those who are living through the death of family and friends.

    In 1835, The Brothers Jacob and Wilhelm Grimm revise the tale to bury a truth about Jacob even he can’t come to face. In 1986, a folklore scholar and her brother come to find the record is wrong about the figurative witch in the woods, while in 2211, twin space probes aiming to find earth's sister planet disseminate the narrative in binary code. Breadcrumbing back in time from 2365 to 1378, siblings reimagine, reinvent, and recycle the narrative of Hansel and Gretel to articulate personal, regional, and ultimately cosmic experiences of tragedy.Through a relay of speculative pieces that oscillate between eco-fiction and psychological horror, The Archive of Alternate Endings explores sibling love in the face of trauma over the course of a millennium, in the vein of Richard McGuire's Here and Lars von Trier's Melancholia.

    In 1968, into the devastating, spare atmosphere of Labrador, Canada, a child is born: a baby who appears to be neither fully boy nor fully girl, but both at once. Only three people are privy to the secret—the baby’s parents, Jacinta and Treadway, and their trusted neighbor and midwife, Thomasina. Though Treadway makes the difficult decision to raise the child as a boy named Wayne, the women continue to quietly nurture the boy’s female side. And as Wayne grows into adulthood within the hypermasculine hunting society of his father, his shadow-self, a girl he thinks of as “Annabel,” is never entirely extinguished. When Wayne finally escapes the confines of his hometown and settles in St. John’s, the anonymity of the city grants him the freedom to confront his dual identity. His ultimate choice will once again call into question the integrity and allegiance of those he loves most. Kathleen Winter has crafted a literary gem about the urge to unveil mysterious truth in a culture that shuns contradiction, and the body’s insistence on coming home. A daringly unusual debut full of unforgettable beauty, Annabel introduces a remarkable new voice to American readers.

    This is the story of the first 10 years of the Nation's Music Station. When MuchMusic launched in 1984, it was truly the Wild (Canadian) West of television--live, gloriously unpredictable, seat-of-the-pants TV, delivered fresh daily. Much was the dream child of TV visionary Moses Znaimer, and John Martin, the maverick creator of The New Music. An entire generation of Canadians lived and breathed TV's new kid in town and because it was live and largely improvised, viewers and VJs both shared the experience and grew up together, embracing the new music that became the video soundtrack of our lives. The careers of Canadian legends like Glass Tiger, Colin James, the Parachute Club, Honeymoon Suite, Blue Rodeo, Corey Hart, Jane Siberry and Platinum Blonde were launched when Much brought them closer to their fans. Much also brought us international acts, and events like the Bon Jovi BBQ and Iggfest, with Iggy Pop improvising songs in the midst of his fans on the sidewalk on Queen Street. This was also an era in which music found its conscience with events like Live Aid and the Amnesty International Human Rights Now! tour. And Much covered them all. With stories of the bands, the VJs, the music, the videos, the style and the improvisational approach to daily broadcast life at Much, and told by the people who were there--the colourful cast of on-air VJs, the artists who found their way into the living rooms of the nation as never before, and the people behind the camera--"Is This Live?" delivers a full-on dose of pop culture from the 1980s and '90s, when the music scene in Canada changed forever."

    But Jude doesn't fit in. He's not part of The Crew because he isn't about to do anything unless it's court-appointed; he's not an Extra because nothing about him is anonymous; and he's not a Movie Star because even though everyone know his name like an A-lister, he isn't invited to the cool parties. As the director calls action, Jude is the flamer that lights the set on fire.Before everything turns to ashes from the resulting inferno, Jude drags his best friend Angela off the casting couch and into enough melodrama to incite the paparazzi, all while trying to fend off the haters and win the heart of his favourite co-star Luke Morris. It's a total train wreck!But train wrecks always make the front page.

    But these unpretentious vignettes are laced with compassion, as she learns to balance the sting of death with the tender strangeness of life.

    In poised yet unrelenting lyric poems, Shanahan—queer and mixed-race—confronts the challenges of a complex cultural inheritance, informed by colonialism and his mother’s immigration to the United States from Morocco, navigating racial constructs, sexuality, family, and the globe in search of “who we are to each other . . . who we are to ourselves.” With poems that weave from Marrakesh to Zürich to London, through history to the present day, this book is, on its surface, an uncompromising exploration of identity in personal and collective terms. Yet the collection is, most deeply, about intimacy and love, the inevitability of human separation and the challenge of human connection. Urging us to reexamine our own place in the broader human tapestry, Into Each Room We Enter without Knowing announces the arrival of a powerful and necessary new voice.

    Morgan’s nîtisânak is woven around grief over the loss of their mother. It also explores despair and healing through community and family, and being torn apart by the same. Using cyclical narrative techniques and drawing on Morgan’s Cree, Saulteaux, and Métis ancestral teachings, this work offers a compelling perspective on the connections that must be broken and the ones that heal.