This riveting true account of the first ever trial of an American citizen in North Korea’s highest court carries readers deep inside the world’s most secretive nation while it poignantly explores the powerful, inspiring bonds of sisterly love.

    Winner of the Nobel Prize in LiteratureFrom Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realmsBound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.

    For the reservation-born, urban-dwelling hipster, the exercise feels stereotypical, reductive, and boring. He hates nature. He prefers city lights to the night sky. He’d slap a tree across the face. He’d rather write a mountain of hashtag punchlines about death and give head in a pizza-parlor bathroom; he’d rather write odes to Aretha Franklin and Hole. While he’s adamant—bratty, even—about his distaste for the word “natural,” over the course of the book we see him confronting the assimilationist, historical, colonial-white ideas that collude NDN people with nature. The closer his people were identified with the “natural world,” he figures, the easier it was to mow them down like the underbrush. But Teebs gradually learns how to interpret constellations through his own lens, along with human nature, sexuality, language, music, and Twitter. Even while he reckons with manifest destiny and genocide and centuries of disenfranchisement, he learns how to have faith in his own voice.

    The seventeen-syllable form is rooted in a Japanese tradition of close observation of nature, of making poetry from subtle suggestion. Infused by its great practitioners with the spirit of Zen Buddhism, the haiku has served as an example of the power of direct observation to the first generation of American modernist poets like Ezra Pound and William Carlos Williams and also as an example of spontaneity and Zen alertness to the new poets of the 1950s. This definitive collection brings together in fresh translations by an American poet the essential poems of the three greatest haiku masters: Matsuo Basho in the seventeenth century; Yosa Buson in the eighteenth century; and Kobayashi Issa in the early nineteenth century. Robert Hass has written a lively and informed introduction, provided brief examples by each poet of their work in the haibun, or poetic prose form, and included informal notes to the poems. This is a useful and inspiring addition to the Essential Poets series.

    Born two years after her parents' only son died just hours after his birth, Kat Chow became unusually fixated with death. She worried constantly about her parents dying -- especially her mother. One morning, when Kat was nine, her mother, a vivacious and mischievous woman, casually made a morbid joke: When she eventually dies, she said laughing, she'd like to be stuffed and displayed in Kat's future apartment in order to always watch over her.Four years later when her mother dies unexpectedly from cancer, Kat, her two older sisters, and their father are plunged into a debilitating, lonely grief. With a distinct voice that is wry and heartfelt, Kat weaves together what is part ghost story and part excavation of her family's history of loss spanning three generations and their immigration from China and Hong Kong to America and Cuba. This redemptive coming-of-age story uncovers the uncanny parallels in Kat's lineage, including the strength of sisterhood and the complicated duty of looking after parents, even after death.Seeing Ghosts asks what it means to claim and tell your family's story: Is writing an exorcism or is it its own form of preservation? What do we owe to our families in our grief, and how does it shape us? In order to answer these questions and to understand her family's ghosts, Kat unearths their sorrow and challenges the power structures of race, class, and gender. The result is an extraordinary new contribution to the literature of grief and the American family, and a provocative and transformative meditation on who we become under the specter of loss.

    Through the vehicle of recipe, butchery, and dinner table poems, the collection negotiates the myriad ways diasporic communities comfort and name themselves in other nations, as well as the ways cuisine is inextricably linked to occupation, transmission, and survival. Dwelling on the personal as much as the historical, Some Are Always Hungry traces the lineage of the speaker’s place in history and diaspora through mythmaking and cooking, which is to say, conjuring.

    Yet, in just fifty years it has transformed itself into an economic powerhouse and a democracy that can serve as a model for other countries. How was it able to do this, despite having been sapped by almost a half-century of colonial rule, ruined by war, partitioned and lacking a democratic tradition? Who are the Korean people, who achieved this second "Asian miracle"? And having accomplished it, what are their prospects now?Daniel Tudor is a journalist who has been living in and writing about Korea for almost a decade. He seeks the answers to these questions in Korean history, culture, and society and in interviews with experts, from business leaders to politicians, shamans, sports legends, poets, rock musicians, and academics. In five parts, he examines Korea's cultural foundations; the Korean character; the public sphere in politics, business, and the workplace as well as the family; life in the hours not spent working, including food, music, and cinema; and social issues that may be crucial to Korea's future, such as Koreans' interactions with outsiders. In doing so, he touches on topics as diverse as shamanism, clan-ism, the dilemma posed by North Korea (brother or enemy?), myths about doing business in Korea, and why the country's infatuation with learning English is causing huge social problems.South Korea has undergone two miracles at once: economic development and democratization. The question now is, will it become a rich yet aging society, devoid of momentum, as some see Japan? Or will the dynamism of Korean society and its willingness to change--as well as the opportunity it has now to welcome outsiders into its fold--enable it to experience a third miracle that will propel it into the ranks of the foremost countries in terms of human development, democracy, and wealth?

    The debut collection from the vibrant voice of Roxane Gay is a unique blend of fiction, nonfiction, and poetry, all interwoven to represent the Haitian diaspora experience.

    Powerful and passionate, Care Work is a crucial and necessary call to arms.

    . . . Intriguing." —Library Journal"This powerful, deeply felt, and impeccably researched fiction is irresistibly evocative." —Publishers Weekly (starred review)Scintillations is an excursion through the Japanese internment using archival materials from the Yamashita family as well as a series of epistolary conversations with composite characters representing a range of academic specialties. Historians, anthropologists, classicists—their disciplines, and Yamashita's engagement with them, are a way for her explore various aspects of the internment and to expand its meaning beyond her family, and our borders, to ideas of debt, forgiveness, civil rights, Orientalism, and community.Karen Tei Yamashita is the author of Through the Arc of the Rain Forest, Brazil-Maru, Tropic of Orange, Circle K Cycles, I Hotel, and Anime Wong, all published by Coffee House Press. I Hotel was selected as a finalist for the National Book Award and awarded the California Book Award, the American Book Award, the Asian/Pacific American Librarians Association Award, and the Association for Asian American Studies Book Award.

    Blurring the lines between magical realism, horror, and science-fiction, Chung uses elements of the fantastic and surreal to address the very real horrors and cruelties of patriarchy and capitalism in modern society.Anton Hur’s translation skilfully captures the way Chung’s prose effortlessly glides from being terrifying to wryly humorous. Winner of a PEN/Heim Grant.

    Wells to Sandra Bland and Black Lives Matter, black women freedom fighters have braved violence, scorn, despair, and isolation in order to lodge their protests. In A Bound Woman Is a Dangerous Thing, DaMaris Hill honors their experiences with at times harrowing, at times hopeful responses to her heroes, illustrated with black-and-white photographs throughout.For black American women, the experience of being bound has taken many forms: from the bondage of slavery to the Reconstruction-era criminalization of women; from the brutal constraints of Jim Crow to our own era’s prison industrial complex, where between 1980 and 2014, the number of incarcerated women increased by 700%.* For those women who lived and died resisting the dehumanization of confinement--physical, social, intellectual--the threat of being bound was real, constant, and lethal.In A Bound Woman Is a Dangerous Thing, Hill presents bitter, unflinching history that artfully captures the personas of these captivating, bound yet unbridled African-American women. Hill's passionate odes to Zora Neale Hurston, Lucille Clifton, Fannie Lou Hamer, Grace Jones, Eartha Kitt, and others also celebrate the modern-day inheritors of their load and light, binding history, author, and reader in an essential legacy of struggle.*(The Sentencing Project)

    the princess, the damsel, & the queen piece together the life of the author in three stages, while you serves as a note to the reader & all of humankind. Explores life & all of its love, loss, grief, healing, empowerment, & inspirations.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    It is a world in which American pop culture and local Filipino tradition mix flamboyantly, and gossip, storytelling, and extravagant behavior thrive.A wildly disparate group of characters--from movie stars to waiters, from a young junkie to the richest man in the Philippines--becomes caught up in a spiral of events culminating in a beauty pageant, a film festival, and an assassination. In the center of this maelstrom is Rio, a feisty schoolgirl who will grow up to live in America and look back with longing on the land of her youth.