Here is a volume of poetry approaching Carolyn Forche's The Angel of History as a stark meditation on Blanchot's sense of writing as the "desired, undesired torment which endures everything." Levine engages the traditional resources of lyric poetry in an exploration of historical and cultural landscapes ravaged by imponderable events. Enola Gay's "mission" can seem spiritual, imaginative, and militaristic as the speaker in these poems surveys marshes and fields and a land on the edge of disintegration. Levine sifts the psychological residue that accumulates in the wake of unspeakable acts and so negotiates that terrain between the banality of language and the need to stand witness and to speak. Levine's stunning second book, with its grave cultural implications and its surveillance of a distinctly postmodern malaise, offers multiple readings. Here are compact poems with uncanny power, rhythm, and a strange, formal beauty echoing and renewing the legacy of Wallace Stevens for a new era.

    Without words to express their grief, the parents, John and Ricky, try to return to their previous lives. Struggling to regain a semblance of normalcy for themselves and for their two older children, they find themselves pretending not only that little has changed, but that their marriage, their family, have always been intact. Yet in the aftermath of the baby's death, long-suppressed uncertainties about their relationship come roiling to the surface. A dreadful secret emerges with reverberations that reach far into their past and threaten their future.The couple's children, ten-year-old Biscuit and thirteen-year-old Paul, responding to the unnamed tensions around them, begin to act out in exquisitely- perhaps courageously-idiosyncratic ways. But as the four family members scatter into private, isolating grief, an unexpected visitor arrives, and they all find themselves growing more alert to the sadness and burdens of others-to the grief that is part of every human life but that also carries within it the power to draw us together.Moving, psychologically acute, and gorgeously written, "The Grief of Others" asks how we balance personal autonomy with the intimacy of relationships, how we balance private decisions with the obligations of belonging to a family, and how we take measure of our own sorrows in a world rife with suffering. This novel shows how one family, by finally allowing itself to experience the shared quality of grief, is able to rekindle tenderness and hope.

    This book chews with its open mouth full of the juiciest words, the most indigestible images. This book undoes me. . . . francine j. harris brilliantly ransacks the poet's toolkit, assembling art from buckets of disaster and shreds of hope. Nothing she lays her mind's eye on escapes. You, too, will be captured by her work."—Evie ShockleyLyrically raw and dangerously unapologetic, play dead challenges us to look at our cultivated selves as products of circumstance and attempts to piece together patterns amidst dissociative chaos. harris unearths a ruptured world dictated by violence—a place of deadly what ifs, where survival hangs by a thread. Getting by is carrying bruises and walking around with "half a skull."From "low visibility":I have light in my mouth. I hunger you. You wantwhat comes in drag. a black squirrel in a black tar lane,fresh from exhaust, hot and July's unearthed steam.You want to watch it run over. to study the sog. You want the stink of gristle buried in a muggy weather.I want the faulty mirage. a life of grass.we want the same thing. We want their deathsto break up the sun.francine j. harris is a 2015 NEA Creative Writing Fellow whose first collection, allegiance, was a finalist for the 2013 Kate Tufts Discovery and PEN Open Book Award. Originally from Detroit, she is also Cave Canem fellow who has lived in several cities before returning to Michigan. She received an MFA in Creative Writing from the University of Michigan, and currently teaches writing at Interlochen Center for the Arts.

    She is an outsider wherever she goes, caught between being black and white, American and not. She tries to connect these dislocated pieces of her life, and as her mother succumbs to cancer, Thandi searches for an anchor—someone, or something, to love. In arresting and unsettling prose, we watch Thandi’s life unfold, from losing her mother and learning to live without the person who has most profoundly shaped her existence, to her own encounters with romance and unexpected motherhood. Through exquisite and emotional vignettes, Clemmons creates a stunning portrayal of what it means to choose to live, after loss. An elegiac distillation, at once intellectual and visceral, of a young woman’s understanding of absence and identity that spans continents and decades, What We Lose heralds the arrival of a virtuosic new voice in fiction.

    Guest editor Rita Dove, a distinguished figure in the poetry world and the second African-American poet ever to win the Pulitzer Prize, brings all of her dynamism and well-honed acumen to bear on this project. Dove used a simple yet exacting method to make her selections: "The final criterion," she writes in her introduction, "was Emily Dickinson's famed description -- if I felt that the top of my head had been taken off, the poem was in." The result is a marvelous collection of consistently high-quality poems diverse in form, tone, style, stance, and subject matter. With comments from the poets themselves illuminating their poems and a foreword by series editor David Lehman, The Best American Poetry 2000 is this year's must-have book for all poetry lovers.

    An experienced falconer—Helen had been captivated by hawks since childhood—she'd never before been tempted to train one of the most vicious predators, the goshawk. But in her grief, she saw that the goshawk's fierce and feral temperament mirrored her own. Resolving to purchase and raise the deadly creature as a means to cope with her loss, she adopted Mabel, and turned to the guidance of The Once and Future King author T.H. White's chronicle The Goshawk to begin her challenging endeavor. Projecting herself "in the hawk's wild mind to tame her" tested the limits of Macdonald's humanity and changed her life. Heart-wrenching and humorous, this book is an unflinching account of bereavement and a unique look at the magnetism of an extraordinary beast, with a parallel examination of a legendary writer's eccentric falconry. Obsession, madness, memory, myth, and history combine to achieve a distinctive blend of nature writing and memoir from an outstanding literary innovator.

    Even more, his culture and learning, worn so lightly as almost to pass unnoticed, link his verse to other and larger traditions, as in this reflection on Baudelaire - clearly intended as an artistic credo of sorts ... - Open Letters Monthly

    Her bracing sixth book of poems, published concurrently with her debut story collection, takes an unflinching, though not unsmiling, look at mortality. Perillo has a penchant for dark humor, for jokes that stick."—Publishers Weekly, starred review"Perillo's poetic persona is funny, tough, bold, smart, and righteous. A spellbinding storyteller and a poet who makes the demands of the form seem as natural as a handshake, she pulls readers into the beat and whirl of her slyly devastating descriptions."—Booklist"Whoever told you poetry isn't for everyone hasn't read Lucia Perillo. She writes accessible, often funny poems that border on the profane."—Time Out New York"Lucia Perillo's much lauded writing has been consistently fine—with its deep, fearless intelligence; its dark and delicious wit; its skillful lyricism; and its refreshingly cool but no less embracing humanity." —Open Books: A Poem EmporiumThe poetry of Lucia Perillo is fierce, tragicomic, and contrarian, with subjects ranging from coyotes and Scotch broom to local elections and family history. Formally braided, Perillo gathers strands of the mythic and mundane, of media and daily life, as she faces the treachery of illness and draws readers into poems rich in image and story.When you spend many hours alone in a roomyou have more than the usual chances to disgust yourself—this is the problem of the body, not that it is mortalbut that it is mortifying. When we were young they taught usdo not touch it, but who can keep from touching it,from scratching off the juicy scab? Today I bita thick hangnail and thought of Schneebaum,who walked four days into the jungleand stayed for the kindness of the tribe—who would have thought that cannibals would be so tender?Lucia Perillo's Inseminating the Elephant (Copper Canyon Press, 2009) was a finalist for the Pulitzer Prize and received the Bobbitt award from the Library of Congress. She lives in Seattle, Washington.

    Sing Them Home is a deeply moving portrait of three grown siblings who have lived in the shadow of unresolved grief since their mother’s mysterious disappearance when they were children. Everyone in Emlyn Springs, Nebraska, knows the story of Hope Jones, the physician’s wife whose big dreams for their tiny town were lost along with her in the tornado of 1978. For Hope’s three young children, the stability of life with their distant, preoccupied father, and with Viney, their mother’s spitfire best friend, is no match for their mother’s absence. Larken, the eldest, is an art history professor who seeks in food an answer to a less tangible hunger; Gaelan, the only son, is a telegenic weatherman who devotes his life to predicting the unpredictable and whose profession, and all too much more, depend on his sculpted frame and ready smile; and Bonnie, the baby of the family is a self-proclaimed archivist who combs the roadsides for clues to her mother’s legacy, and permission to move on. When, decades after their mother’s disappearance, they are summoned home after their father’s sudden death, they are forced to revisit the childhood tragedy at the center of their lives. With breathtaking lyricism, wisdom, and humor, Stephanie Kallos explores the consequences of protecting the ones we love. Sing Them Home is a magnificent tapestry of lives connected and undone by tragedy, lives poised—unbeknownst to the characters themselves—for redemption.

    Lyrically complex and startling—yet forthright and unflinching— these poems address rape, abortion, sex work, and other subjects frequently omitted from male-dominated literary traditions, without forsaking the pleasures of being embodied, or the value of personal freedom, of moonlight, and of hope. Throughout, the topography and mythology of California, as well as the uses and failures of language itself, are players in what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

    Here, the poet holds his world in full focus but at an astonishing angle: from the violence of the seventeenth-century English Civil War as refracted through a mythic sea wanderer, right down to the dark interior of love.These poems arrange the contemporary continuum of home and abroad into a wonderment of cracked narrative sequences and tumultuous personae. With ears tuned to the vernacular, the collection vividly binds us to what is terrifying about happiness, loss, and the lure of the sea. House of Lords and Commons testifies to the particular courage it takes to wade unsettled, uncertain, and unfettered in the wake of our shared human experience.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    Myung Mi Kim's language is pure and commanding and brings us to a place of grieving we have needed to acknowledge" (Kathleen Fraser). In "Under Flag," winner of the 1991 Multicultural Publishers Book Award, Myung Mi Kim writes in a stark, unflinching voice that alternately drives to the core of painful subject matter and backs off to let beauty speak for itself: "Save the water from rinsing rice for sleek hair / This is what the young women are told, then they're told / Cut off this hair that cedar combs combed / Empty straw sacks and hide under them / Enemy soldiers are approaching..." ("Body As One As History"). The cumulative effect is, according to Ammiel Alcalay, "a poetics which resists being neutralized or categorized."

    Yet despite the distinctive differences from poem to poem, Bernstein's characteristic explorations of how language both limits and liberates thought are present throughout. Modulating the comic and the dark structural invention with buoyant soundplay, these challenging works give way to poems of lyric excess and striking emotional range. This is poetry for poetry's sake, as formally radical as it is socially engaged, providing equal measures of aesthetic pleasure, hilarity, and philosophical reflection. Long considered one of America's most inventive and influential contemporary poets, Bernstein reveals himself to be both trickster and charmer.

    When the Goodwins took over the last dairy farm in the small Midwestern town of Prairie Center, they envisioned their home a self-made paradise. But these days, as Alice is all too aware, her elder daughter Emma is prone to inexplicable fits of rage, her husband Howard distrusts her maternal competence, and Prairie Center's tight-knit suburban community shows no signs of warming to "those hippies who think they can run a farm." A loner by nature, Alice is torn between a yearning for solitude coupled with a deep need to be at the center of a perfect family. On this particular day, Emma has started the morning with a violent tantrum, her little sister Claire is eating pennies, and it is Alice's turn to watch her neighbor's two small girls as well as her own. She absentmindedly steals a minute alone that quickly becomes ten: time enough for a devastating accident to occur. Her neighbor's daughter Lizzy drowns in the farm's pond, and Alice - whose own volatility and unmasked directness keep her on the outskirts of acceptance - becomes the perfect scapegoat. At the same time, a seemingly trivial incident from Alice's past resurfaces and takes on gigantic proportions, leading the Goodwins far from Lizzy's death into a maze of guilt and doubt culminating in a harrowing court trial and the family's shattering downfall.