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A debut poetry collection drawing on horror-movie tropes to examine the body--both its traumas and its possibilities. Scream / Queen, CD Eskilson's debut poetry collection, examines queerness, mental illness, and transgender identity through the lens of thrillers and B movies. The Creature from the Black Lagoon, Michael Myers, and the Headless Horseman are just a few of the fright-film villains and monsters that populate this book. Eskilson's formally innovative poems document how a body--a nonbinary transgender body, a chronically ill body, a body carrying trauma--can be understood, accepted, and healed even in a violent sociopolitical climate. Drawing on the language and images of horror cinema, the poems' speakers find strength and the means to survive both family legacy and the pain inflicted on them: "I want to behemoth, be the biggest / violence in the galaxy," says one who thinks about Godzilla and dreams of "learning how to roar." Though an atmosphere of trans panic and state legislation against trans bodies pervades the book, Scream / Queen ultimately conjures a world of hope and tenderness through connection and care. It celebrates all the body's possibilities: the glorious and the monstrous. As a werewolf in the book says, "I kiss the moon; it took so long / to get here."

In eight short stories, travelers and locals become entangled in situations that send their moral compasses spinning. A grieving American father visits Dharamsala to investigate the murder of the son he's never understood and finds himself delving into the mystery of the young man's life. A Turkish-Cypriot teacher is tasked with making an inventory of household goods in an occupied tourist resort the inhabitants have fled. A Greek sculptor whose marriage is failing covers for a student from the US who, instead of learning the art, engages in an affair. A Buddhist nun enlists the help of a Peace Corps worker to kill a suffering dog. A wannabe eco-activist in Kentucky writes confessional letters to Boyan Slat, the young CEO of The Ocean Cleanup. A woman in a Rajasthan tourist caravan bears helpless witness to a dire culture clash. As Closson Buck's characters encounter circumstances that challenge their understanding of themselves and the world around them, they are forced to negotiate fallout stemming from religious dogma, environmental crisis, and political violence. Ranging from fabulism to realism, the stories in The Dalai Lama's Smile invite us to explore the perils and the possibilities that come from engaging the unknown.

In this essay collection, Amit Majmudar meditates on the poetic canon of the West and the traditions of world literature. In The Great Game, poet, critic, translator, and literary omnivore Amit Majmudar ranges widely, writing with characteristic verve on canonical authors such as Milton, Byron, and Emily Dickinson, contemporaries like Kay Ryan, and other traditions of world literature. He examines verse drama and philosophy and even touches on writers of popular prose like Robert Ludlum and Ray Bradbury. A radiologist as well as a writer, Majmudar brings together the diagnostician's precision with the poet's imagination and an encyclopedic base of knowledge. He practices literary criticism as a global art, one with the intensity of verse, the depth of philosophy, and the scope of history--and does so with the infectious curiosity of a passionate reader. Some of the most powerful essays here are synoptic meditations on science and poetry in which Majmudar shows that anyone trying to make fresh sense of the world, be it Milton or Kepler or Dickinson or Darwin, is practicing something like poetic meaning-making. The collection's diverse inquiries are held together by Majmudar's sustained, thoughtful, delightfully inventive attention to poetic form as an idea, to specific forms like the ghazal and the epic, and by his nimble, empathetic readings of individual writers. The Great Game is an intellectually thrilling tour of poetry across centuries, geographic divides, and even the disciplinary boundaries that separate science from philosophy from poetry.

Inspired by the Greek myth of Alcestis, this poetry collection brings to life myriad voices who venture beyond the known world and exist between realities. In Greek mythology, Alcestis descends to the mysterious kingdom of death in her beloved's place. In The Alcestis Machine, Carolyn Oliver's second poetry collection, loss and queer desire echo across the multiverse. "In another life, I'm a . . ." sea witch or swineherd, vampire or troubadour, florist or fossil or museum guard, Oliver writes. These parallel personas inhabit space stations and medieval villages, excavate the Devonian seabed, and plumb a subterranean Anthropocene. In possible futures and imagined pasts, they might encounter "all wrong turns and broken signs" or carry "a suitcase full of stars." Oliver's poems are animated by lush, unsettling verse and forms both traditional and experimental. The Alcestis Machine demonstrates how very present absence can be and how desire knows no boundaries. In neighborhood subdivisions or the vast reaches of space, it's impossible to know "whose time is slipping / again." Anyone "could come loose / from gravity's shine."

A sweeping multigenerational tale complicates traditional narratives as it follows two families--one Moroccan, one Polish--filled with Zionists, anti-Zionists, socialists, and reactionaries. Spanning from 1932 to 1973, Nothing Vast delves deeply into the circumstances and concerns of Jews in cities across the globe--in Poland, France, Morocco, and the United States--as well as in Israel. Giving voice to characters male and female, young and old, Moshe Zvi Marvit braids together stories of migration and struggle, of custom and superstition, of long-held secrets and lies. This beautifully crafted novel follows a survivor of sexual assault, a member of the French resistance, a dream interpreter, a petty criminal, and a venerated rabbi. Based on the experiences and traditions of the author's own half-Arab Jewish family, the book is rife with historical and cultural detail and with the intricacies of faith and identity, both personal and national. At the center of the novel is Israel itself--a place existing first in the collective imagination, then in reality as Marvit slips into nonfiction to document the establishment of the country and the reactions to its birth. The characters' experiences upon arrival in their new nation are vastly different: one family is given a large orange grove upon which to establish a Yeshiva, while the other, not accorded the same privileges, lives beneath notice. The story takes yet another twist when, years later, a grandchild of one of the founding rabbis, seeking answers, discovers the origin of his family's land. Visceral, intellectual, and searching, Nothing Vast is nothing short of a virtuosic debut.

A memoir of Johnson's unusual upbringing during the 1970s and '80s, interwoven with the story of her transition to parenthood in post-recession Portland, Oregon. In the weeks after her first child is born, Jessica E. Johnson receives an email from her mother that contains artifacts of the author's early childhood: scans of Polaroids and letters her mother wrote in mountain west mining camps and ghost towns-places without running water, companions, or help. Awash in love and restlessness, Johnson begins to see how the bedrock images of her isolated upbringing have stayed with her, even when she believed she was removing herself from their logic. As she copes with the swirling pressures of parenting, teaching at an urban community college, and a partnership shaped by chronic illness, Johnson starts digging through her mother's keepsakes and the histories of the places her family passed through, uncovering the linked misogyny and disconnection that characterized her childhood world-a world with uncomfortable echoes in the present and even in the act of writing itself. The resulting journey encompasses Johnson's early memories, the story of the earth told in the language of geology, bits of vivid correspondence, a mothering manual from the early twentieth century, and the daily challenges of personal and collective care in a lonesome-crowded Pacific wonderland. Mettlework traces intergenerational failures of homemaking, traveling toward presence and relationship amid the remains of extractive industry and unsustainable notions of family.

This collection of poems by Jose Hernandez Diaz showcases the unique style that has made him a rising star in the poetry community.--

It's 1984, and the invisible mists are falling, mists that cause people to slip into dreamless slumber--sleeps from which most, but not all, awaken. Those who do wake live in fear of the next mist, and the next, each a little longer and more dangerous than the last. Alternating between the perspectives of a kleptomaniac waitress named Cora and her twelve-year-old friend Glass, Sleepaway depicts a small-town America turned alarming. This is a place where loved ones are lost to a state between life and death; where denial, delusion, and desperation take hold of those remaining; where dealers of the antisleep drug Eight Track disappear into shadows, and a murderous wannabe kingpin hunts for victims. As civilization is shaved away one sleep storm at a time, people struggle to go on, making and losing allies and discovering new strengths and weaknesses. Cora sets out on an ill-fated road trip hoping to reclaim her sister's love, only to discover a more powerful bond than blood. Glass, having lost his only parent to one of the first mists, searches for a stability he has never had and may never achieve. All the while, buildings rise outside town to cope with the mounting number of sleepers. Some see them as hospitals, others as repositories, and yet soon the air around them fills with ash.

"PILGRIM, Canterbury Cruise Line's flagship, promises its passengers not just a luxurious fortnight away but the opportunity for reinvention. This extraordinary journey is made possible by the captain and visionary plastic surgeon Dr. Walter Heston, by the vessel's self-learning artificial intelligence called BECCA, and an all-male crew of room stewards, deck hands, technicians, and cosmetic practitioners. Pilgrims 2.0 begins on the eve of Cruise #52 and follows four women eager for transformation. Meet Bianca, the aging athlete determined to resume the competitive tennis career that motherhood sidelined. Meet Nicole, whose mommy makeover will mean she can stop hiding herself, and her debt, from her husband. Meet Lyla, an infertile maternity-ward nurse desperate to experience pregnancy, and Annalie, who wants only to stop seeing her dead twin every time she looks in the mirror. At the center of the story is Dr. Heston himself, driven to do with bodies what his late wife, Rebecca, could do with computer code--make the impossible, possible. But "excursions" like these aren't always smooth sailing--especially on this voyage, where the hopes, histories, and obsessions of clients and crew members collide. When a disruptive crewman's pranks turn dangerous, it becomes clear that some of those who embarked won't return to the Port of Los Angeles--at least not fully, at least not as themselves, and maybe not with their lives."--Amazon

A collection of prose poems that chronicles the family life of two cancer survivors. Dan O'Brien's powerful companion to Our Cancers catalogs the recovery of a cancer survivor, whose wife has recently survived her own cancer, as he returns to his daily life while raising a young daughter. This prose-poem sequence is a true survivor's notebook, using photos and the tools of memoir to evoke how disaster can constellate our past, present, and future. In his poems, plays, and nonfiction, Dan O'Brien has explored, as he says in a 2023 interview, "how trauma shatters identity, and in its aftermath we reconfigure and rewrite, as it were, the story of who we were and are and maybe will be." In highly personal poems reminiscent of dramatic monologues, as well as shorter lyric fragments, the protagonist reconsiders the people and places he knew before his illness, including his estranged family and others with cancer. While looking back he moves forward again, resuming his career as a writer and teacher, revisiting Ireland, and making a kind of pilgrimage to the Holy Land. There is a confiding and at times comical tone in these poems as O'Brien awakens to the delights, absurdities, and wonders of existence, and as he and his wife work through the aftershocks of their trauma toward a deeper love. With text and image, Survivor's Notebook shows how we go on, with resilience, gratitude, and joy, when "the emergency's elsewhere" now.

The first nonfiction collection by internationally acclaimed writer and translator Amit Majmudar, Black Avatar combines elements of memoir, biography, history, and literary criticism. The eight pieces in this deeply engaging volume reflect author Amit Majmudar's comprehensive studies of American, European, and Indian traditions, as well as his experiences in both suburban Ohio and the western Indian state of Gujarat. The volume begins with the title piece, a fifteen-part examination of "How Colorism Came to India." Tracing the evolution of India's bias in favor of light skin, Majmudar reflects on the effects of colonialism, drawing upon sources ranging from early Sanskrit texts to contemporary film and television. Other essays illuminate subjects both timely and timeless. "The Ramayana and the Birth of Poetry" discusses how suffering is portrayed in art and literature ("The spectrum of suffering: slapstick on one end, scripture on the other, with fiction and poetry . . . in the vastness between them"), while in "Five Famous Asian War Photographs"-a 2018 Best American Essays selection-Majmudar analyzes why these iconic images of atrocity have such emotional resonance. In "Nature/Worship," another multi-part piece, the author turns his attention to climate change, linking notions of environmentalism to his ancestral tradition of finding divinity within the natural world, connections that form the basis of religious belief. Perhaps the greatest achievement of these wide-ranging essays is the prose itself-learned yet lively, erudite yet accessible-nimbly revealing the workings of a wonderfully original mind.

"Envisioned as a 'nocturne,' Steve Amick's playful, multilayered novel expansively retells Eugene Field's famed verse 'Wynken, Blynken, and Nod.' In the fishing village of Scheveningen in 1889, three men build and secretly launch an unorthodox fishing vessel, departing from the long tradition of netting herring using massive boats and large crews. Collaborating in this venture are Wyn van Winkel, a cavalier joker and opium addict currently AWOL from the Aceh War in Sumatra; Ned Nodder, a seasoned fisherman trying to support his family while plagued by narcolepsy and prophetic dreams; and Luuk Blenkin, a scattered young troubadour failing at love and searching for his place in the world. As formally innovative as the "picarooner" this mismatched trio construct, the narrative--sparked by the lines of the "Dutch lullaby"--flits between reality and irreality as the inexplicable adventure unfolds. In the spirit of a nocturne, Steve Amick envelops his characters in the world of night and dreams. Lyrical, historical, surprising, magical, heartwarming, and heartbreaking, You Shall See the Beautiful Things will make you look at the stars--and herring--in a new light."

"In this debut poetry collection, a single speaker tries to control her body and negotiate her time with digital devices, all the while navigating identities, impulses, and relationships that are often in tension. Metabolics, a book-length poem, borrows the movements of metabolic pathways to consider how nature accomplishes both balance and deep transformation. In visual figures and prose blocks that bridge the divide between poetry and nonfiction, Jessica E. Johnson employs scientific idioms to construct an allegory about a family in the Pacific Northwest. The region becomes a character in its own right, with cedars, moss, and heavy cloud knitting the mother, father, boy, and girl into their setting. This far-reaching volume also serves as a study of the ecologies of contemporary parenting, with adults and children affected by 'feeds' both on screen and off as their bodies metabolize food, the environment, and excess feelings such as rage. From climate change to kombucha to smartphones and curated produce, the smallest details of daily life in 'Plasticland' catalyze a larger examination of selfhood: 'Despite so many attempts to resolve this tension, sometimes you are you and also sometimes mother just as light can be both particle and wave'"--Provided by publisher.

"These are tales of seekers, often damaged, who find themselves caught up in skewed realities, facing lurking threats, violent deaths, strange entities, and alienating technologies. Confronted with unsettling, escalating, circumstances, the disparate cast of characters are driven toward self-revelation and perverse moments of poignancy. A troubled high schooler traps a peer in an underground storage space. A traumatized felon returns home to rob the man who molested him as a child. A videogame help-line operator suspects a regular caller, obsessed with a disturbing role-playing game, of real-life misdeeds. In the title story, an unhappy couple adopts a "designer animal," a genetic hybrid created to be the perfect pet. But the "grot" makes trouble in the neighborhood, becoming emblematic of a deeper problem. 'Something is wrong with the world, ' the narrator's husband explains. 'A design flaw. It's so thoroughly corrupted, I'm not sure how to fix it.' Inventive and unpredictable, these thirteen stories are wholly immersive, showing Sheehy at his captivating best."--

All the Tiny Beauties follows five characters in California as their lives intertwine. All the Tiny Beauties begins with a kitchen fire that sends the reclusive Webster Jackson to the home of his new neighbor, Colleen, who discovers him on her doorstep wearing a lacy peignoir, his house in flames. Unwilling to take responsibility for the lonely eccentric, Colleen reaches out to Webb‿s estranged daughter, Debra. She also helps him find a live-in companion, a young adult reeling from the loss of her childhood friend. Moving among perspectives and generations, we see the longings and vulnerabilities that drive and impede these characters as their stories intertwine‿Webb‿s first love clashing with his last; Colleen embarking on a secret affair with Debra; the older Webb and his young housemate, Hannah, forming a bond over tragedy, guilt, and his passion for baking. Confronting the many ways they‿ve failed others as well as themselves, Webb, Colleen, Hannah, and Debra slowly find ways forward and ways out. While exploring the fragile nature of our connections to one another, All the Tiny Beauties asks larger questions about the constraints society imposes that warp and wound, leading us to deny those things that make us wholly ourselves.

The third full-length collection from physician and poet Jenna Le blends traditional form and the current moment. In Manatee Lagoon, sonnets, ghazals, pantoums, villanelles, and a "failed georgic" weave in contemporary subject matter, including social-media comment threads, Pap smears, eclipse glasses, and gun violence. A recurring motif throughout the collection, manatees become a symbol with meanings as wide-ranging as the book itself. Le aligns the genial but vulnerable sea cow with mermaids, neurologists, the month of November, harmful political speech, and even a family photo at the titular lagoon. In these poems, Le also reflects on the experience of being the daughter of Vietnamese refugees in today's sometimes tense and hostile America. The morning after the 2016 election, as three women of color wait for the bus, one says, "In this new world, we must protect each other." Manatee Lagoon is a treasury of voices, bringing together the personal and the persona, with poems dedicated to Kate Spade, John Ashbery, and Uruguayan poet Delmira Agustini. With this book, Le establishes herself as a talented transcriber of the human condition--and as one of the finest writers of formal verse today.

An unvarnished accounting of one man's struggle toward sexual and emotional maturity. In this unconventional memoir, Jonathan Alexander addresses wry and affecting missives to a conflicted younger self. Focusing on three years--1989, 1993, and 1996--Dear Queer Self follows the author through the homophobic heights of the AIDS epidemic, the fall of the Berlin Wall, the election of Bill Clinton, and the steady advancements in gay rights that followed. With humor and wit afforded by hindsight, Alexander relives his closeted college years, his experiments with his sexuality in graduate school, his first marriage to a woman, and his budding career as a college professor. As he moves from tortured self-denial to hard-won self-acceptance, the author confronts the deeply uncomfortable ways he is implicated in his own story. More than just a coming-out narrative, Dear Queer Self is both an intimate psychological exploration and a cultural examination--a meshing of inner and outer realities and a personal reckoning with how we sometimes torture the truth to make a life. It is also a love letter, an homage to a decade of rapid change, and a playlist of the sounds, sights, and feelings of a difficult, but ultimately transformative, time.

In C. T. Salazar's striking debut poetry collection, the speaker is situated in the tradition of Southern literature but reimagines its terrain with an eye on the South's historic and ongoing violence. His restless relationship with religion ("a child told me there was a god / and because he was smiling, I believed him") eventually includes a reclamation of the language of belief in the name of desire.

Poet and playwright Dan O'Brien chronicles the year and a half during which both he and his wife were treated for cancer.

A dreamlike novel set in Pennsylvania in the 1990s, Here Is a Game We Could Play is the story of Claudia, an intelligent eccentric trapped in the rundown industrial town she grew up in--a place plagued with troubling memories and hidden threats. Seeking escape from tedium, loneliness, and her obsessive fear of poisoning, Claudia retreats into books. . . and into a fantasy life with her perfect lover, to whom she addresses letters about her life, all the while imagining outlandish sexual scenarios. ​In each fantasy, her lover takes a different form, ranging from a prison guard in a world where metaphor is forbidden, to a more-than-brotherly Hansel from the Grimms' fairy tale, to a tentacled mind-reading space alien. All share a desire for a deep intimacy that eludes Claudia, even as she forms new real-life relationships and reconsiders her sexual identity--building a rapport with an elderly volunteer at the library, striking up a friendship with a wily temp at her dead-end job, and embarking on a passionate affair with Rose, the town's new librarian. When paranoia threatens to ruin her relationship with Rose, Claudia is forced not only to combat her anxiety but to face the unresolved trauma in her past--the disappearance of her father on a night she has long repressed. Funny, dark, inventive, and moving, Here Is a Game We Could Play is an original debut novel recalling the work of Aimee Bender, Angela Carter, Rebecca Brown, and Margaret Atwood.

The characters who populate Jenn Scott's debut collection are both trapped and adrift. Stuck in dead-end jobs or stagnant relationships or simply caught in the grip of their own inertia, they opt out, act out, and strike out, searching for emotional sustenance in a landscape of pointless patterns and dwindling hopes. Cuttingly clever remarks and excoriating observations act as shields--thrown up to protect an aching vulnerability, a bewildering sense of loss . . . of being lost in a world rife with expectations, where responsibility is ritualistic and meaning elusive. "The beauty of being young was, in fact, the ability to project all that might happen. She recognizes, suddenly, how less grandiose the projection of her plans has become. It's like she was once standing looking an expanse of field, but now she's trapped in a hallway hung with too many pastel prints of landscapes that refuse to interest her. It's as if she's moved her entire life inside a dental office, minus the gas that sings a person to sleep while their cavities are filled, their roots fixed." Assumed identities, Russian mail-order brides, pie theft, lost (and found) cleavers, coworkers who commit murder, the sudden ballooning of breasts, conversations with the (surprisingly opinionated) vegetables in a restaurant's walk-in cooler: in stories sharply funny and deeply poignant, situations that delight and discomfit, Scott explores "the complicated, or simple, ways in which we settle."

"..A boy's desperate act of rebellion against his grandmother reverberates outward, causing rifts and reckonings in the lives of others: a man fleeing his own troubled family who becomes the grandson's unwitting accomplice; a poet struggling with the limitations of language and his wife's distance; the proprieter of a dying motel; and the grandmother herself, who finds love for the first time as she recuperates from her injury. Set in the Mojave Desert and the suburbs of Southern California, this revelatory novel moves swiftly among characters caught between the deprivations of the past and the mysteries of the future. With unflinching precision and stunning prose, Vallianatos unearths the vulnerability and volatility at our cores."--Provided by publisher.

Following his acclaimed debut novel, The Last Cowboys of San Geronimo, the eleven stories of Ian Stansel's Glossary for the End of Days explore today's cultural and political climate with a disarming blend of speculation and realism. Whether faced with tragedy, approaching disaster, or an all-too-familiar uncertainty, Stansel's protagonists--siblings, lovers, executives, drifters--reveal complex and often startling turns of mind, surprising themselves as well as the reader. In Boulder, a man calls into a radio program with an altered tale of his brother's murder--and faces the consequences when the story goes viral. In Tampa, a woman attends a convention of people believing themselves to be targets of clandestine government agencies. In Houston, a family with many secrets attempts to escape an oncoming tropical storm. In an East Coast college town, a professor has a charged run-in with a young woman from the radical right. And in Iowa, a cult suicide spurs the lone survivor to create a "glossary" in an effort to come to terms with his experience. ​ Simultaneously gritty and lyrical, grounded and visionary, Glossary for the End of Days gives us characters grappling with how to push on through dark days and dark times. This arresting, relevant collection tunes into and seeks to illuminate shared anxieties about the present--and future--of our world.

Persephone in the Late Anthropocene vaults an ancient myth into the age of climate change. In this poetry collection, the goddess of spring now comes and goes erratically, drinks too much, and takes a human lover in our warming, unraveling world. Meanwhile, Persephone's mother searches for her troubled daughter, and humanity is first seduced by the unseasonable abundance, then devastated by the fallout, and finally roused to act. This ecopoetic collection interweaves the voices of Persephone, Demeter, and a human chorus with a range of texts, including speculative cryptostudies that shed light on the culture of the "Late Anthropocene." These voices speak of decadence and blame, green crabs and neonicotinoids, mysteries and effigies. They reckon with extreme weather, industrialized plenty, and their own roles in ecological collapse. Tonally, the poems of this book range between the sublime and the profane; formally, from lyric verse and modern magical-realist prose poems to New Farmer's Almanac riddles and pop-anthropology texts. At the heart of this varied and inventive collection is story itself, as Demeter deconstructs "whodunits," as the chorus grasps that mythmaking is an act of "throwing their voices," and as their very language mirrors the downward spiral of destruction. Together, the collected pieces of Persephone in the Late Anthropocene form a narrative prism, exploring both environmental crisis and the question of how we tell it.