Native American Studies. Amongst the poems and prose of OLD SHIRTS & NEW SKINS appear illustrations by Elizabeth Woody, an enrolled member of the Confederated Tribes of Warm Springs, Oregon. In the best tradition of confronting American reality and exacting vision and meaning from it, Sherman Alexie chooses to use poetic power. His vision is an amazing celebration of endurance, intimacy, love, and creative insight; finally, it is a victory that can be known only by a people who refuse to submit to the thieves, liars, and killers that have made them suffer tremendous loss and pain. "Like the woman who pours her life into a stew of survival, Sherman Alexie has created a meal, not for a reader to consume but for a reader to be changed by. Survival is being documented, changes measured"--Linda Hogan.

    Anne’s College, Oxford. Her lectures took the shape of this set of discursive stories. Refusing to be tied down to either fiction or the essay form, Artful is narrated by a character who is haunted—literally—by a former lover, the writer of a series of lectures about art and literature.A hypnotic dialogue unfolds, a duet between and a meditation on art and storytelling, a book about love, grief, memory, and revitalization. Smith’s heady powers as a fiction writer harmonize with her keen perceptions as a reader and critic to form a living thing that reminds us that life and art are never separate.Artful is a book about the things art can do, the things art is full of, and the quicksilver nature of all artfulness. It glances off artists and writers from Michelangelo through Dickens, then all the way past postmodernity, exploring every form, from ancient cave painting to 1960s cinema musicals. This kaleidoscope opens up new, inventive, elastic insights—on the relation of aesthetic form to the human mind, the ways we build our minds from stories, the bridges art builds between us. Artful is a celebration of literature’s worth in and to the world and a meaningful contribution to that worth in itself. There has never been a book quite like it.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    The studio has plans for a franchise, so rather than hiring an actor, the protagonist will be 'translated' into a cloned human body.It's common practice - Niles' therapist is a Fictional. So is his best friend. So, maybe, is the woman in the bar he can't stop staring at. Fictionals are a part of daily life now, especially in LA.In fact, it's getting hard to tell who's a Fictional and who's not...Funny, clever, profound and moving, The Fictional Man is set to be Al Ewing's break-through novel.

    Now a single volume brings together the full range of his work: monologues from A Prairie Home Companion, stories from The New Yorker and The Atlantic, excerpts from novels, newspaper columns. With an extensive introduction and headnotes, photographs, and memorabilia, The Keillor Reader also presents pieces never before published, including the essays “Cheerfulness” and “What We Have Learned So Far.”   Keillor is the founder and host of A Prairie Home Companion, celebrating its fortieth anniversary in 2014. He is the author of nineteen books of fiction and humor, the editor of the Good Poems collections, and a member of the American Academy of Arts and Letters.

    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.

    People died because he lived.Zafira is the Hunter, disguising herself as a man when she braves the cursed forest of the Arz to feed her people. Nasir is the Prince of Death, assassinating those foolish enough to defy his autocratic father, the sultan. If Zafira was exposed as a girl, all of her achievements would be rejected; if Nasir displayed his compassion, his father would punish him in the most brutal of ways. Both Zafira and Nasir are legends in the kingdom of Arawiya--but neither wants to be.War is brewing, and the Arz sweeps closer with each passing day, engulfing the land in shadow. When Zafira embarks on a quest to uncover a lost artifact that can restore magic to her suffering world and stop the Arz, Nasir is sent by the sultan on a similar mission: retrieve the artifact and kill the Hunter. But an ancient evil stirs as their journey unfolds--and the prize they seek may pose a threat greater than either can imagine.

    A thoughtful dog grants an interview. A caterpillar offers life advice. Amy Gerstler’s newest collection of poetry, Dearest Creature, marries fact and fiction in a menagerie of dramatic monologues, twisted love poems, and epistolary pleadings. Drawing on sources as disparate as Lewis Carroll and Mary Shelley’s Frankenstein, as well as abnormal psychology, etiquette, and archaeology texts, these darkly imaginative poems probe what it means to be a sentient, temporary, flesh-and-blood beast, to be hopelessly, vividly creaturely.

    This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). Loving is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.Cherríe Moraga is the co-editor of the classic feminist anthology This Bridge Called My Back and the author of The Last Generation. She is Artist-in-Residence at Stanford University.

    It centers around a young Nigerian woman, Ada, who develops separate selves within her as a result of being born "with one foot on the other side." Unsettling, heartwrenching, dark, and powerful, Freshwater is a sharp evocation of a rare way of experiencing the world, one that illuminates how we all construct our identities.Ada begins her life in the south of Nigeria as a troubled baby and a source of deep concern to her family. Her parents, Saul and Saachi, successfully prayed her into existence, but as she grows into a volatile and splintered child, it becomes clear that something went terribly awry. When Ada comes of age and moves to America for college, the group of selves within her grows in power and agency. A traumatic assault leads to a crystallization of her alternate selves: Asụghara and Saint Vincent. As Ada fades into the background of her own mind and these selves--now protective, now hedonistic--move into control, Ada's life spirals in a dark and dangerous direction.Narrated by the various selves within Ada and based in the author's realities, Freshwater dazzles with ferocious energy and serpentine grace, heralding the arrival of a fierce new literary voice.

    Evelyn has always done her duty as a daughter, hiding her boredom and resentment behind good manners—so when an innocent friendship with a servant is misinterpreted by her father as an illicit union, Evelyn is appalled. Yet the consequence is a welcome one: she is to accompany her father on a trip to North America, where they’ll visit New York City, the 1893 World’s Fair in Chicago, and conclude with a fishing expedition on the Nipigon River in Canada. Now is her chance to escape her cloistered life, see the world, and reconnect with her father. Once they’re on the Nipigon, however, Evelyn is shocked to discover that their guide is James Douglas, the former stable hand and her one-time friend who disappeared from the estate after the shootings of a poacher and a gamekeeper. Many had assumed that James had been responsible, but Evelyn never could believe it. Now, in the wilds of a new world, far from the constraints of polite society, the truth about that day, James, and her father will be revealed…to stunning consequences.

    Good thing for Betty Rhyzyk she's from a family of take-no-prisoners Brooklyn police detectives. But her Big Apple wisdom will only get her so far when she relocates to The Big D, where Mexican drug cartels and cult leaders, deadbeat skells and society wives all battle for sunbaked turf.Betty is as tough as the best of them, but she's deeply shaken when her first investigation goes sideways. Battling a group of unruly subordinates, a persistent stalker, a formidable criminal organization, and an unsupportive girlfriend, the unbreakable Detective Betty Rhyzyk may be reaching her limit.

    With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America--and the painful, joyous path to adulthood as a young, queer Black woman.Black Girl, Call Home is a love letter to the wandering Black girl and a vital companion to any woman on a journey to find truth, belonging, and healing.

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

    From Robert Lowell and Elizabeth Bishop, John Ashbery and Adrienne Rich, to Robert Haas and Louise Gluck, this anthology takes the full measure of our poetry's daring energies and its tender understandings.