In this new work, Arthur Sze employs a wide range of voices―from lichen on a ceiling to a man behind on his rent―and his mythic imagination continually evokes how humans are endangering the planet; yet, balancing rigor with passion, he seizes the significant and luminous and transforms these moments into riveting and enduring poetry.
From the publisher:
From the current phenomenon of drawing calligraphy with water in public parks in China to Thomas Jefferson laying out dinosaur bones on the White House floor, from the last sighting of the axolotl to a man who stops building plutonium triggers, Sight Lines moves through space and time and brings the disparate and divergent into stunning and meaningful focus. In this new work, Arthur Sze employs a wide range of voices―from lichen on a ceiling to a man behind on his rent―and his mythic imagination continually evokes how humans are endangering the planet; yet, balancing rigor with passion, he seizes the significant and luminous and transforms these moments into riveting and enduring poetry.
Be Recorder offers readers a blazing way forward into an as yet unmade world. The many times and tongues in these poems investigate the precariousness of personhood in lines that excoriate and sanctify.
From the publisher:
Be Recorder offers readers a blazing way forward into an as yet unmade world. The many times and tongues in these poems investigate the precariousness of personhood in lines that excoriate and sanctify. Carmen Giménez Smith turns the increasingly pressing urge to cry out into a dream of rebellion—against compromise, against inertia, against self-delusion, and against the ways the media dream up our complacency in an America that depends on it. This reckoning with self and nation demonstrates that who and where we are is as conditional as the fact of our compliance: “Miss America from sea to shining sea / the huddled masses have a question / there is one of you and all of us.” Be Recorder is unrepentant and unstoppable, and affirms Giménez Smith as one of our time’s most vital and vivacious poets.
In
Dunce, Mary Ruefle returns to the poetic practice that has always been at her core. With her startlingly fresh sensibility, she enraptures us in poem after poem by the intensity of her attention, with the imaginative flourishes of her being-in-the-world, always deep with mysteries, unexpected appearances, and abiding yearning.
From the publisher:
In Dunce, Mary Ruefle returns to the poetic practice that has always been at her core. With her startlingly fresh sensibility, she enraptures us in poem after poem by the intensity of her attention, with the imaginative flourishes of her being-in-the-world, always deep with mysteries, unexpected appearances, and abiding yearning.
A Sand Book is a poetry collection in nine parts, a travel guide that migrates from wildfires to hurricanes, tweety bird to the president, lust to aridity, desertification to prophecy, and mother to daughter. It explores the negative space of what is happening to language and to consciousness in our strange and desperate times.
From the publisher:
A Sand Book is a poetry collection in nine parts, a travel guide that migrates from wildfires to hurricanes, tweety bird to the president, lust to aridity, desertification to prophecy, and mother to daughter. It explores the negative space of what is happening to language and to consciousness in our strange and desperate times. From Hurricane Sandy to the murder of Sandra Bland to the massacre at Sandy Hook, from the sand in the gizzards of birds to the desertified mountains of Haiti, from Attar’s “Conference of the Birds” to Chaucer’s “Parliament of Fowls” to Twitter, A Sand Book is about change and quantification, the relationship between catastrophe and cultural transmission. It moves among houses of worship and grocery stores, flitters between geological upheaval and the weird weather of the Internet. In her long-awaited follow-up to Mercury, Reines has written her most ambitious work to date, but also her most visceral and satisfying.
At once a love story, an elegy, and an urgent plea—Ilya Kaminsky’s long-awaited
Deaf Republic confronts our time’s vicious atrocities and our collective silence in the face of them.
From the publisher:
Deaf Republic opens in an occupied country in a time of political unrest. When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear—all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya’s girls, heroically teaching signs by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea—Ilya Kaminsky’s long-awaited Deaf Republic confronts our time’s vicious atrocities and our collective silence in the face of them.
This is about what grows through the wreckage. This is an anthem of survival and a look at what might come after. A view of what floats and what, ultimately, sustains.
Build Yourself a Boat redefines the language of collective and individual trauma through lyric and memory.
From the publisher:
This is about what grows through the wreckage. This is an anthem of survival and a look at what might come after. A view of what floats and what, ultimately, sustains.
Build Yourself a Boat redefines the language of collective and individual trauma through lyric and memory.
The story of Toi Derricotte is a hero’s odyssey. It is the journey of a poetic voice that in each book earns her way to home, to her own commanding powers.
“I”: New and Selected Poems shows the reader both the closeness of the enemy and the poet’s inherent courage, inventiveness, and joy.
From the publisher:
The story of Toi Derricotte is a hero’s odyssey. It is the journey of a poetic voice that in each book earns her way to home, to her own commanding powers.
“I”: New and Selected Poems shows the reader both the closeness of the enemy and the poet’s inherent courage, inventiveness, and joy. It is a record of one woman’s response to the repressive and fracturing forces around the subjects of race, class, color, gender, and sexuality. Each poem is an act of victory, finding a path through repressive forces to speak with both beauty and truth.
This collection features more than thirty new poems as well as selections from five of Derricotte’s previously published books of poetry.
The Tradition details the normalization of evil and its history at the intersection of the past and the personal. 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?
From the publisher:
The Tradition details the normalization of evil and its history at the intersection of the past and the personal. 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―is 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.
Acting as poetic records of light, the poems in
Variations on Dawn and Dusk follow the sun as it warms, cools, colors, and shifts the space of Robert Irwin’s
untitled (dawn to dusk) in the desert of Marfa, TX.
From the publisher:
Acting as poetic records of light, the poems in Variations on Dawn and Dusk follow the sun as it warms, cools, colors, and shifts the space of Robert Irwin’s untitled (dawn to dusk) in the desert of Marfa, TX. Built on the footprint of the town’s old hospital, Irwin’s permanent installation is a remarkable structure with walls, windows, and screens that both capture and are taken over by the sun’s changing light. Through this deeply engaged ekphrasis, Dan Beachy-Quick uses language to participate in the overpowering elegance of Irwin’s structure. The poet’s fervent observations lead us in cycles of meditation, moving with the light that slides through the surfaces of the installation. Here, the very foundation of our vision—light—forms the vocabulary from which these poems are built.
Building from Irwin’s use of rhythm and structure, the poems in this collection are constructed with an architectural framework. Rhythmic procedures inversely link the first and last words of the first and last lines of each poem and tie the number of lines to the number of syllables in the first line. These structures form a pattern, a thoughtful consistency through which we are invited to move and meditate with each variation of light.
