In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    Semezdin Mehmedinovic remained a citizen of Sarajevo throughout the Serbian nationalists' siege and was active throughout the war in the city's resistance movement, as one of the editor's of the magazine Phantom of Liberty. Semezdin Mehmedinovic says that "writing is, finally, quite a personal thing that doesn't make much sense unless you are practicing for the last word." For those Bosnians emerging from the siege or still in exile, these "last words" remain intimate possessions, one of the last bastions left against the commodification of tragedy.

    The book also charts Laura, who has a backstory. She is more than a mother standing by watching the life of her promising young son come undone. She has struggled with alcohol addiction firsthand but remains emotionally and physically sober and present for her son during his collision course with disaster. The Boldt family's love and compassion is palpable as they work their way through deep fear, sleepless nights, and crushing setbacks.This is a riveting portrayal of the agonies of addiction and how one family faced their issues and found a stronger, more sustainable path forward. Many readers will undoubtedly see themselves in these stories and will come away with an abiding sense of hope-not just for Tommy and Laura, but for themselves, too.The writing in Unraveled is brilliant and fresh, and the two voices working together and against each other makes Unraveled even more memorable. Tommy's gift for zingy one-liners energizes the story and contrasts cleverly with Laura's witty yet measured and concerned maternal tone.Unraveled is a tale of chaos and near-death experiences that shares personal and private moments and the intense challenges and grueling work it takes to get sober and remain sober. It's a unique story of a mother and son's journey that ends with on-your-knees epiphanies that leave both parent and child asking for help. This tandem narrative is a compelling testimony of bravery and honesty that, with edgy and surprising humor, charts a family's slow climb out of the abyss of pain into the full power of faith, redemption, and healing.

    Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex―a combination of the sonnet, the ghazal, and the blues―testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while revelling in a celebration of contradiction.

    She never wanted to be invisible in her own family, never wanted to crush on her best friend Alyssa, and she definitely never wanted to know how effectively a mallet could destroy someone’s head. But the universe doesn’t care what she wants. Shane Mayfield doesn’t care what Seelie wants either. When the former high school basketball star attacks her, she has no choice but to defend herself. She saved her own life, but she can’t bring herself to talk about what happened that night. Not all of it. Not even when she’s arrested for murder.

    Hired by adoptive parents to find the biological mother of an illegally adopted, terminally ill child, Cuban American private eye Lupe Solano soon finds herself plunged into the heart of a perilous and potentially lethal case.

    In this stunning debut, Laura Lee weaves unforgettable and eye-opening essays on a variety of taboo topics. In “History of Scars” and “Aluminum’s Erosions,” Laura dives head-first into heavier themes revolving around intimacy, sexuality, trauma, mental illness, and the passage of time. In “Poetry of the World,” Laura shifts and addresses the grief she feels by being geographically distant from her mother whom, after being diagnosed with early onset Alzheimer’s, is relocated to a nursing home in Korea. Through the vivid imagery of mountain climbing, cooking, studying writing, and growing up Korean American, Lee explores the legacy of trauma on a young queer child of immigrants as she reconciles the disparate pieces of existence that make her whole. By tapping into her own personal, emotional, and psychological struggles in these powerful and relatable essays, Lee encourages all of us to not be afraid to face our own hardships and inner truths.

    On that day, Pin Yathay was a qualified engineer in the Ministry of Public Works. Successful and highly educated, he had been critical of the corrupt Lon Nol regime and hoped that the Khmer Rouge would be the patriotic saviors of Cambodia.In Stay Alive, My Son, Pin Yathay provides an unforgettable testament of the horror that ensued and a gripping account of personal courage, sacrifice and survival. Documenting the 27 months from the arrival of the Khmer Rouge in Phnom Penh to his escape into Thailand, Pin Yathay is a powerful and haunting memoir of Cambodia's killing fields.With seventeen members of his family, Pin Yathay were evacuated by the Khmer Rouge from Phnom Penh, taking with them whatever they might need for the three days before they would be allowed to return to their home. Instead, they were moved on from camp to camp, their possessions confiscated or abandoned. As days became weeks and weeks became months, they became the New People, displaced urban dwellers compelled to live and work as peasants, their days were filled with forced manual labor and their survival dependent on ever more meager communal rations. The body count mounted, first as malnutrition bred rampant disease and then as the Khmer Rouge singled out the dissidents for sudden death in the darkness.Eventually, Pin Yathay's family was reduced to just himself, his wife, and their one remaining son, Nawath. Wracked with pain and disease, robbed of all they had owned, living on the very edge of dying, they faced a future of escalating horror. With Nawath too ill to travel, Pin Yathay and his wife, Any, had to make the heart-breaking decision whether to leave him to the care of a Cambodian hospital in order to make a desperate break for freedom. Stay alive, my son, he tells Nawath before embarking on a nightmarish escape to the Thai border.First published in 1987, the Cornell edition of Stay Alive, My Son includes an updated preface and epilogue by Pin Yathay and a new foreword by David Chandler, a world-renowned historian of Cambodia, who attests to the continuing value and urgency of Pin Yathay's message.

    In the next installment of her graphic travelogue series, Displacement, Knisley volunteers to watch over her ailing grandparents on a cruise. (The book s watercolors evoke the ocean that surrounds them.) In a book that is part graphic memoir, part travelogue, and part family history, Knisley not only tries to connect with her grandparents, but to reconcile their younger and older selves. She is aided in her quest by her grandfather s WWII memoir, which is excerpted. Readers will identify with Knisley s frustration, her fears, her compassion, and her attempts to come to terms with mortality, as she copes with the stress of travel complicated by her grandparents frailty."

    The pieces come in the wake of a stroke Gilb suffered at his home in Austin, Texas, in 2009, and a majority of the stories were written over many months of recovery. The result is a powerful and triumphant collection that tackles common themes of mortality and identity and describes the American experience in a raw, authentic vernacular unique to Gilb.These ten stories take readers throughout the American West and Southwest, from Los Angeles and Albuquerque to El Paso and Austin. Gilb covers territory familiar to some of his earlier work—a mother and son’s relationship in Southern California in the story ‘Uncle Rock’ or a character looking to shed his mixed up past in ‘The Last Time I Saw Junior’—while dealing with themes of mortality and limitation that have arisen during his own illness. Confronting issues of masculinity, sexuality, and mortality, Gilb has recovered and produced what may be his most extraordinary achievement to date.

    Moments suffused with love--teaching his daughter how to drive; watching his grandmother bake a cake; waking beside his beloved to ponder trumpet mechanics--couple with moments of wrenching grief--a father's life ended by a gun; mourning children draped around their mother's waist; Freddie Gray's death in police custody. Even in the refuge-space of dreams, a man calls the police on his Black neighbor.But Worldly Things refuses to "offer allegiance" to this centuries-old status quo. With uncompromising candor, Kleber-Diggs documents the many ways America systemically fails those who call it home while also calling upon our collective potential for something better. "Let's create folklore side-by-side," he urges, asking us to aspire to a form of nurturing defined by tenderness, to a kind of community devoted to mutual prosperity. "All of us want," after all, "our share of light, and just enough rainfall."Sonorous and measured, the poems of Worldly Things offer needed guidance on ways forward--toward radical kindness and a socially responsible poetics.

    So when her prestigious New York law firm is raided by the FBI, Yolanda turns in her corrupt bosses to save her career—and goes to work for the Bureau. Soon she's sent undercover at Red, Black, and Green—an African-American “extremist” activist group back in her California college town. They claim a biotech corporation fueled by Pentagon funding is exploiting the neighborhood. But Yolanda is determined to put this assignment in her win column, head back to corporate law, and regain her comfortable life... Until an unexpected romance opens her heart—and a suspicious death opens her eyes. Menacing dark money forces will do anything to bury Yolanda and the movement. Fueled by memories of who she once was—and what once really mattered most—how can she tell those who’ve come to trust her that she’s been spying? As the stakes escalate, and one misstep could cost her life, Yolanda will have to choose between betraying the cause of her people or invoking the wrath of the country’s most powerful law enforcement agency.

    These inspiring wordsmiths are scholars, spiritual seekers, conservationists, scientists, novelists, and explorers. They defy easy categorization, yet they all share a bold authenticity that makes their work both distinct and universal.    Featured writers include:Dorothy Wordsworth, Susan Fenimore Cooper, Gene Stratton-Porter, Mary Austin, and Vita Sackville-WestNan Shepherd, Rachel Carson, Mary Oliver, Carolyn Merchant, and Annie DillardGretel Ehrlich, Leslie Marmon Silko, Diane Ackerman, Robin Wall Kimmerer, and Lauret SavoyRebecca Solnit, Kathleen Jamie, Carolyn Finney, Helen Macdonald, and Saci LloydAndrea Wulf, Camille T. Dungy, Elena Passarello, Amy Liptrot, and Elizabeth RushPart travel essay, literary biography, and cultural history, Writing Wild ventures into the landscapes and lives of extraordinary writers and encourages a new generation of women to pick up their pens, head outdoors, and start writing wild.

    In this powerful debut, Britteney Black Rose Kapri lends her unmistakable voice to fraught questions of identity, sexuality, reclamation, and power, in a world that refuses Black Queer women permission to define their own lives and boundaries.

    Controversial, revolutionary, ethereal, or illuminating, her poems about race, Black lives, violence, gender, and family move readers of all ages and backgrounds.With BICYCLES, she’s collected poems that serve as a companion to her 1997 LOVE POEMS. An instant classic, that book--romantic, bold, and erotic--expressed notions of love in ways that were delightfully unexpected. In the years that followed, Giovanni experienced losses both public and private. A mother’s passing, a sister’s, too. A massacre on the campus at which she teaches. And just when it seemed life was spinning out of control, Giovanni rediscovered love--what she calls the antidote. Here romantic love--and all its manifestations, the physical touch, the emotional pull, the hungry heart--is distilled as never before by one of our most talented poets. In a time of national crisis or personal crisis, this is a collection that will open minds and change hearts as only the best art can.