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"A groundbreaking work about race and the American landscape. Thoughtful, sincere, wise, and beautiful."-Helen Macdonald

John James Audubon is renowned for his masterpiece of natural history and art, The Birds of America, the first nearly comprehensive survey of the continents birdlife. And yet few people understand, and many assume incorrectly, what sort of man he was. How did the illegitimate son of a French sea captain living in Haiti, who lied both about his parentage and his training, rise to become one of the greatest natural historians ever and the greatest name in ornithology? In Under a Wild Sky this Pulitzer Prize finalist, William Souder reveals that Audubon did not only compose the most famous depictions of birds the world has ever seen, he also composed a brilliant mythology of self. In this dazzling work of biography, Souder charts the life of a driven man who, despite all odds, became the historical figure we know today.

A ground-breaking collection of poems exploring disability, syntax, and rhythm from a Brooklyn-based Senegalese American writer with cerebral palsy. In this fifth offering from the Multiverse series, Latif Askia Ba--a poet with Choreic Cerebral Palsy--honors all the things that arise from our unique choreographies. Meeting each reader with corporeal generosity, these poems create space to practice a radical reclamation of movement and the body. Together. In dialogue. In disability. At the bodega, in the examination room, on the move. "This way. My body looks like a dancing tattoo." Here, the drum of the body punctuates thought in unexpected and invigorating time signatures.These poems are percussive and syncopated, utilizing a polylingual braid of French, Spanish, Jamaican, Fulani, and Wolof that reminds the Anglophone reader: "I am not here to accommodate you." Because these poems are not so much for you as they are with you, an accompaniment rather than an accommodation, something to be rather than something to own.With startling nuance, The Choreic Period encourages us to "relinquish the things that we have. And mark the thing that we do," all to see and sing the vital "thing that we be."

An attentive collection of poems seeking answers about how to live meaningfully in a world saturated by white noise."The question isn't / what exists," writes Sarah V. Schweig in this engrossing collection of poems, "The question is what doesn't / die with us?" Positioned from within the morass of modern-day living, The Ocean in the Next Room searches for the hard, abiding particles of truth buried beneath the mantle of late capitalism. Stillness. Sunsets. The circadian rhythm of trees. These poems guide us to look past content, brands, and relentless jargon to find meaning in those layers of the world that operate without human intervention or interpretation.And yet: "Why this impulse to poetry if I believe the literal all that's left?" In verse that is at once inventive and innately familiar, Schweig unpacks the urge to make art, life, and connections even at the risk of becoming further entangled in the Anthropocene. In the face of the twenty-first century's fearful enormities and its persistent mundanities, she posits, we need reminders that beauty, friendship, and kindness, are all still possible. "We light lights / in the dark. It's a human thing."Profound and clear-sighted, this collection--selected by Cynthia Cruz for the 2023-24 Jake Adam York Prize--urges us to lift our gazes from our screens and really look at the world around us. If we measure our attentions and sharpen our intentions, if we "try again to write / the truth things," we might spy something real on the horizon.

From the award-winning author of Cures for Hunger and Into the Sun, a haunting novel exploring artificial intelligence and the meaning of human existence.Charged initially with a single task--"to never harm humans and to protect them"--an experimental AI project overrides its programming and determines that the best way to accomplish its purpose is to isolate all of the Earth's remaining seven billion human beings in controlled environments. And to present them with vivid, tactile, imagined worlds--some realistic, others entirely fantastical--in which all desires are fulfilled. With the help of the Machine, a memorable cast of characters unpack deeply traumatic memories of the past--one rife with violence after a military coup and second civil war in America. Michael, the entrepreneur who designed the original AI, grapples with the impact of his research. Ava, a painter and Michael's long-ago lover, creates stunning simulated worlds that meld the human with the technological. Their daughter Jae tries to solve the mysteries of her parentage while reliving the harsh reality of life for young women with big ambitions. Haunted by life in the repressive Confederacy, where he was forced to scavenge scrap metal and deal drugs to survive, Simon remembers past loves and losses, guided by the literature he has always turned to in moments of crisis. Raised by the Machine since infancy, Jonah pieces together information about the violence of the past, intent on revenge against the powerful world leaders who caused his family so much pain. And the elusive Lux, whose brilliant programming helped bring the AI to life, dreams of a future in which science will free humans of their limitations and allow them to be reborn as divine machines. As these characters and their memories collide and coalesce, this daring speculative novel tackles the most pressing issues of our time. The power and potential of AI and virtual reality. Repressive social orders that drive people to violence. Genetic modification and designer babies. Gender roles and class divisions. Addiction and drug crisis. The value of free information and speech. The existence of souls. What it means to be happy. What it means, ultimately, to be human. Gorgeously written, bold and unforgettable, this is speculative fiction at its finest.

Selected by Jos Charles as the winner of the 2021 Ballard Spahr Prize for Poetry, Return Flight is a lush reckoning: with inheritance, with body, with trauma, with desire—and with the many tendons in between. When Return Flight asks “what name / do you crown yourself,” Jennifer Huang answers with many. Textured with mountains—a folkloric goddess-prison, Yushan, mother, men, self—and peppered with shapeshifting creatures, spirits, and gods, the landscape of Huang’s poems is at once mystical and fleshy, a “myth a mess of myself.” Sensuously, Huang depicts each of these not as things to claim but as topographies to behold and hold. Here, too, is another kind of mythology. Set to the music of “beating hearts / through objects passed down,” the poems travel through generations—among Taiwan, China, and America—cataloging familial wounds and beloved stories. A grandfather’s smile shining through rain, baby bok choy in a child’s bowl, a slap felt decades later—the result is a map of a present-day life, reflected through the past.Return Flight is a thrumming debut that teaches us how history harrows and heals, often with the same hand; how touch can mean “purple” and “blue” as much as it means intimacy; and how one might find a path toward joy not by leaving the past in the past, but by “[keeping a] hand on these memories, / to feel them to their ends.”

An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from U.S. Poet Laureate and MacArthur Fellow Ada Limón.“I have always been too sensitive, a weeper / from a long line of weepers,” writes Limón. “I am the hurting kind.” What does it mean to be the hurting kind? To be sensitive not only to the world’s pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings—and to know that those beings are resolutely their own, that they “do not / care to be seen as symbols”?With Limón’s remarkable ability to trace thought, The Hurting Kind explores those questions—incorporating others’ stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families.Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. “Slippery and waddle thieving my tomatoes still / green in the morning’s shade,” writes Limón of a groundhog in her garden, “she is doing what she can to survive.”

From one of our most acclaimed contemporary writers, an urgent and essential collection of poems illuminating the visionary presence of Palestinians.Fady Joudah’s powerful sixth collection of poems opens with, “I am unfinished business,” articulating the ongoing pathos of the Palestinian people. A rendering of Joudah’s survivance, [...] speaks to Palestine’s daily and historic erasure and insists on presence inside and outside the ancestral land. Responding to the unspeakable in real time, Joudah offers multiple ways of seeing the world through a Palestinian lens—a world filled with ordinary desires, no matter how grand or tragic the details may be—and asks their reader to be changed by them. The sequences are meditations on a carousel: the past returns as the future is foretold. But “Repetition won’t guarantee wisdom,” Joudah writes, demanding that we resuscitate language “before [our] wisdom is an echo.” These poems of urgency and care sing powerfully through a combination of intimate clarity and great dilations of scale, sending the reader on heartrending spins through echelons of time. […] is a wonder. Joudah reminds us “Wonder belongs to all.”

"An abundant and anticipatory collection of poems exploring the season of waiting that precedes adoption"--

“Offering a deeply necessary, clear-eyed look at who we are as flesh-and-bone bodies during the climate crisis, this is a book that searches and finds meaning in both the hard truths and the value of wonder.”—Ada LimónIn this luminous collection of essays, Ellen Wayland-Smith probes the raw edges of human existence, those periods of life in which our bodies remind us of our transience and the boundaries of the self dissolve. For it is in such liminal states—losing a parent, giving birth, experiencing a nervous breakdown, coping with breast cancer—that we, too, are part of “the cosmic molecular arc that binds all life.”From the Old Testament to Maggie Nelson, these explorations are grounded in a rich network of associations. In an essay on the postpartum body, Wayland-Smith interweaves her experience as a mother with accounts of phantom limbs and Greek mythology to meditate on moments when pieces of our being exist outside our bodies. In order to comprehend diagnoses of depression and breast cancer, she delves into LA hippie culture’s love affair with crystals and Emily Dickinson’s geological poetry. Her experience with chemotherapy leads to reflection on Western medicine and its intolerance of death and the healing capacity of nature. And throughout, she challenges the false separation between the human and the “primeval, animal mode of being.”At once intimate and expansive, The Science of Last Things peels back layers of human thought and behavior, breaking down our modern conceptions of individuality and reframing us as participants in a world of astounding elegance and mystery.

"An excavatory collection of poems tracing the connections between Jewish transfemininity, queer desire, and cultural histories"--

"A spry collection of poems reflecting on art, the aging body, and the experiences of a lifetime"--

"An intimate and kaleidoscopic entry in the Multiverse series exploring compulsion, connection, and poetic curiosity"--

"A vulnerable and honest collection of poems exploring lineage, love, and the pandemic, from one of the most acclaimed poets of his generation"--

“Nothing less than the history of a people in the form of an absorbing and emotionally searing memoir.”—David Treuer, author of The Heartbeat of Wounded KneeGrowing up in Montana, Chris La Tray always identified as Indian. While the representation of Indigenous people was mostly limited to racist depictions in toys and television shows, and despite the fact that his father fiercely denied any connection, he found Indians alluring, often recalling his grandmother’s consistent mention of their Chippewa heritage.When La Tray attended his grandfather’s funeral as a young man, he finally found himself surrounded by relatives who obviously were Indigenous. “Who were they?” he wondered, and “Why was I never allowed to know them?” Embarking on a deeply personal and revealing journey into his family’s past, he discovers a larger story of the complicated history of Indigenous communities—and the devastating effects of colonialism that continue to ripple through surviving generations. Combining diligent research and compelling conversations with Indigenous authors, activists, elders, and historians, La Tray follows a trail deep into the heart of his community—and himself. And as he comes to embrace his full identity, he eventually seeks enrollment with the Little Shell Tribe of Chippewa Indians, joining their 158-year-long struggle for federal recognition.Both personal and historical, Becoming Little Shell is a testament to the power of storytelling, to family and legacy, and to finding home. Infused with candor, heart, wisdom, and an abiding love for a place and a people, Chris La Tray’s remarkable journey—and the journey of his tribe—is both revelatory and redemptive.

"In 2010, experienced wilderness travelers Amy and Dave Freeman married and set out on an unusual honeymoon: a 12,000 mile, human-powered journey across North America"--

A lucid memoir reckoning with grief and the search for understanding in the wake of a sister’s suicide.Rebecca Spiegel is working as a teacher in New Orleans when she learns of her sister Emily’s death by suicide. Shocked, she flies back to Philadelphia. To family. To funeral preparations. To the service. Only after she leaves her parents’ house does the shock give way to grief.In the years that follow, Spiegel embarks on a physical, mental, and emotional voyage. She visits Emily’s dorm, digs through her computer. She parses old journal entries and emails. She recalls Emily’s visit to New Orleans mere days before her death, wondering what signs she might have missed. In documenting the last traces of her sister’s life, Spiegel also confronts their parents’ failings, as well as her family’s history of depression, anxiety, OCD, addiction, and disordered eating. She faces her own regrets too. “I wish I had untangled myself from myself,” she writes of her sister’s final visit. “I wish I had been able to see that I was okay and she wasn’t.”With each powerful detail resurfaced, Spiegel attempts to put into words what is incomprehensible. She plumbs the depths of her loss in an effort to understand her sister, to uncover logic where it is most elusive. What she finds instead is that there is no narrative on the other side of grief like this. There is no answer, no easy resolution—only those that leave, and those that keep living. Unflinchingly honest, visceral, and raw, this courageous elegy lays bare the hard realities of surviving the loss of a loved one.

An imaginative anthology of climate fiction from emerging new voices, curated by the editors of Grist Magazine.For many of us, the thought of our planet centuries in the future signals a volatile dystopia: our world devastated by climate change, our people bitter and broken. But this shining anthology presents an alternative future. These twelve winning selections from Grist’s Imagine 2200 short story contest shirk the fear and mourning that often mark speculative climate fiction, daring instead to dream of humanity’s varied communities meeting planetary challenges in fascinating and novel ways.Imagine 2200 was founded to counter the dominance of the dystopian in futurist writings, and to “ensure climate stories and characters represent diverse voices, authentic cultures, and the intersectional reality of the climate crisis.” Metamorphosis beautifully elucidates those themes, featuring a wide array of thought—Afro-, Asian, Indigenous, Latinx, disabled, feminist, and queer futurisms, hopepunk, solarpunk, and more. In “To Labor for the Hive,” a beekeeper finds purpose and new love after collaborating on a bee-based warning system for floods. “Cabbage Koora: A Prognostic Autobiography” presents an ecologically rebalancing California where an Indian family preserves traditions through food and dance across generations. And in “And Now the Shade,” a Mexican bioengineer finds the answer to a perplexing problem in the dreams of her dying grandmother. Each of these powerful stories offers a glimpse of a future built not on cynicism, but on “sustainability, inclusivity, and justice,” testifying to the power of human courage and collective resilience.Edited by Grist and introduced by Sheree Renée Thomas, a New York Times best-selling author and editor of the Magazine of Fantasy & Science Fiction, Metamorphosis will electrify and activate readers concerned about our “future ancestors” and the fate of all our attending flora and fauna. These stunning stories imagine a tomorrow in which we do more than survive: we thrive—together.

From the author of Rising, finalist for the Pulitzer Prize in General Nonfiction, an astonishing, vital book about Antarctica, climate change, and community.In 2019, fifty-seven scientists and crew set out onboard the Nathaniel B. Palmer. Their destination: the ominous Thwaites Glacier at Antarctica’s western edge. Their goal: to learn as much as possible about this mysterious place, never before visited by humans. And with them is author Elizabeth Rush, who seeks, among other things, the elusive voice of the ice.The Quickening documents a groundbreaking voyage punctuated by both the sublime—the tangible consequences of our melting icecaps; the staggering waves of the Drake Passage; the torqued, unfamiliar contours of Thwaites—and the everyday moments of living and working in community. A ping-pong tournament at sea. Long hours in the lab. All the effort that goes into caring for the human and more-than-human worlds. Along the way, Rush takes readers on a personal journey around a more intimate question: What does it mean to create and celebrate life in a time of radical planetary change?What emerges is a new kind of Antarctica story, one preoccupied not with flag planting and heroism but with the collective and challenging work of imagining a better future. With understanding the language of a continent where humans have only been present for two centuries. With the contributions and concerns of women, who were largely excluded from voyages until the last few decades, and of crew members of color, whose labor has often gone unrecognized. Urgent, brave, and vulnerable, The Quickening is an absorbing account of hope from one of our most celebrated and treasured contemporary authors.

Copper Nickel is the national literary journal housed at the University of Colorado Denver. It is edited by poet, editor, and translator Wayne Miller (author of five collections, including We the Jury and Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of Moikom Zeqo’s Zodiac) and co-editor Joanna Luloff (author of Remind Me Again What Happened and The Beach at Galle Road)—along with poetry editors Brian Barker (author of Vanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies and Genuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen (author of The Pull of the Earth), Christopher Merkner (author of The Rise & Fall of the Scandamerican Domestic), and Emily Wortman-Wunder (author of Not a Thing to Comfort You).Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected for inclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, Best Literary Translations, and the Pushcart Prize Anthology, and has often been listed as “notable” in the Best American Essays. According to Clifford Garstang’s 2023 literary journal rankings, Copper Nickel is ranked number 10 for poetry and number 34 for fiction, out of more than 700 regularly publishing literary journals.Contributors to Copper Nickel have received numerous honors for their work, including the Nobel Prize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Griffin Poetry Prize; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations.Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationally to bookstores and other outlets by Publishers Group West (PGW) and Accelerate 360.Issue 38 Includes:• A Symposium on the work of poet Reginald Shepherd, featuring seven poems by Shepherd and critical appraisals by National Book Award–winner Robin Coste Lewis, National Book Award–finalist Tommye Blount, Rilke Prize–winner Rick Barot, PEN Open Book Margins Award–winner Timothy Liu, Guggenheim Fellow Paisley Rekdal, Lama Rod Owens, Camille Rankine, and Charles Stephens.• Translation Folios with work by South Korean poet Kim Hyesoon, translated by Cindy Juyong Ok; Italian poet Vivian Lamarque, translated by Geoffrey Brock; German poet Jan Wagner, translated by David Keplinger; Iraqi poet Saadi Youssef, translated by Khaled Mattawa.• New Poetry by Hurston/Wright Legacy Award–winner Myronn Hardy, Whiting Award–winner Diannely Antigua, Guggenheim Fellow Geoffrey Brock, Amy Lowell Fellow Rebecca Lindenberg, Rome Fellow Mark Halliday, Eric Gregory Award–winner James Conor Patterson, Alice Fay di Castagnola Award–winner Melissa Kwasny, Ruth Lilly Fellow Matthew Nienow, NEA Fellows Traci Brimhall and Chris Forhan, Iowa Poetry Prize–winner Stephanie Choi, and relative newcomers Mya Mateo Alexice, Katie Condon, Saúl Hernández, Dana Isokawa, James Jabar, Tyler Raso, and Cintia Santana.• New Fiction by Betty Gabehart Prize–winner Jennifer Militello, Fulbright Scholar Matthew Lawrence Garcia, Anthony M. Abboreno, Rebecca Entel, Xavier Balckwell-Lipkind, Randy F. Nelson, and Allyson Stack.• A New Essay by Rona Jaffe Writers’ Award–winner Hasanthika Sirisena.• Cover Art by Oakland-based artist Stephanie Syjuco.Contributor LocationsContributors to issue 38 come from all over the country and the world.U.S. cities/regions where contributors are concentrated include:Denver, CO (home of Copper Nickel and the Copper Nickel staff; contributor Cindy Juyong Ok)Los Angeles, CA (contributing editors Victoria Chang, Piotr Florczyk, Amaud Jamaul Johnson,and Chris Santiago)San Francisco Bay Area, CA (cover artist Stephanie Syjuco; contributing editor Randall Mann)Atlanta, GA (contributors Lama Rod Owens and Charles Stephens)Boston/Cambridge, MA (contributor Allison Adair; contributing editors Martha Collins andFrederick Reiken)Baltimore, MD (contributors Joseph J. Capista and Carol Quinn)Detroit, MI (contributors Tommye Blount and Isaac Pickell)Minneapolis/St. Paul, MN (home of Milkweed Editions; contributing editor V. V.Ganeshananthan)Missoula, MT (contributor Melissa Kwasny; contributing editor Sean Hill)Greensboro, NC (contributors James Jabar and Rhett Iseman Trull; contributing editor EmiliaPhillips)New York, NY (contributors Dana Isokawa and Maja Lukic)Pittsburgh, PA (contributors Jan Beatty and Camille Rankine; contributing editors Joy Katz andKevin Haworth)Dallas, TX (contributor Katie Condon; contributing editor Tarfia Faizullah)Seattle, WA (contributors Rick Barot and Matthew Nienow)US Cities/Regions with single contributors:West Hartford, CT (contributor Xavier Blackwell-Lipkind)Washington, DC (contributor David Keplinger)Boca Raton, FL (contributing editor A. Papatya Bucak)Davenport, IA (contributor Anthony M. Abboreno)Iowa City, IA (contributor Rebecca Entel)Boise, ID (contributing editor Emily Ruskovich)Chicago, IL (contributing editor Robert Archambeau)Indianapolis, IN (contributor Chris Forhan)Richmond, IN (contributor Christen Noel Kauffman)Bloomington, IN (contributor Tyler Raso)Manhattan, KS (contributor Traci Brimhall)Lexington, KY (contributing editor Ada Limón)Haverhill, MA (contributor Diannely Antigua)Lewiston, ME (contributor Myronn Hardy)Ann Arbor, MI (contributor Khaled Matttawa)Grand Rapids, MI (contributor Andrew Collard)Kansas City, MO (contributing editor Robert Long Foreman)Saint Louis, MO (contributing editor Niki Herd)Davidson, NC (contributor Randy F. Nelson)Lincoln, NE (contributor James Brunton)Manchester, NH (contributor Jennifer Millitello)Jersey City, NJ (contributor Mya Matteo Alexice)Princeton, NJ (contributing editor James Richardson)Canton, NY (contributing editor Pedro Ponce)Woodstock, NY (contributor Timothy Liu)Athens, OH (contributor Mark Halliday)Cincinnati, OH (contributor Rebecca Lindenberg)Tulsa, OK (contributing editor Kaveh Bassiri)Ashland, OR (contributor Cynthia Boersma)Selinsgrove, PA (contributor Hasanthika Sirisena)Philadelphia, PA (contributing editor Adrienne Perry)Greenville, SC (contributor Emily Cinquemani)Sewanee, TN (contributor Stephanie Choi)San Antonio, TX (contributor Saúl Hernández)St. George, UT (contributor Cindy King)Salt Lake City, UT (contributor Paisley Rekdal)Middlebury, VT (contributor Carolyn Orosz)Houston, TX (contributing editor Kevin Prufer)Blacksburg, VA (contributing editor Janine Joseph)International contributors live in:Düsseldorf, GERMANY (Matthew Lawrence Garcia)Milan, ITALY (Vivian Lamarque)Seoul, SOUTH KOREA (Kim Hyesoon)Edinburgh, UNITED KINGDOM (Allyson Stack)London, UNITED KINGDOM (James Conor Patterson)

"Short Film Starring My Beloved's Red Bronco, selected by Tyehimba Jess for the 2022 Ballard Spahr Prize for Poetry, is an aching tribute to the power and precarity of queer love"--

"Published in association with the Library of Congress and edited by the twenty-fourth Poet Laureate of the United States, a singular collection of fifty poems reflecting on our relationship to the natural world by our most celebrated writers"--

French literary icon Marie-Claire Bancquart (1932¿2019) is known for an uncanny inhabitation of the concrete, finding whole worlds, even afterlives, in daily instances and spaces. ¿If I could seize a little nothing / a bit of nothing,¿ she muses, ¿all things would come to me / those that dance / in its cloth.¿ The tiniest moments can be acts of utterance, defiance, communion, and immortality. Yet death does indeed appear in the everyday, though it¿s more than a fact of existence. It is fiction as well, small cunning stories we create so we¿re not merely waiting for it: ¿one sets / close by / the pot of orange flowers / the here and now / to block the view.¿ Here, the infinitesimal has no end; the smaller life gets, the deeper and more carefully Bancquart has us pause to notice its offerings. Though for her ¿the body¿ is the surest, most trustworthy way of knowing, the mystery of language is often referenced, and reverenced. And translator Jody Gladding, an award-winning poet herself, beautifully carries forward Bancquart¿s lifetime of distinctive work. Every Minute Is First is lean, lucid yet philosophical poetry, reflecting visceral life and experiential thought, walking in the dark with a light, lighting words¿or alighting on them¿in their own incandescent power to make the long-lived journey meaningful.

·       The author is incredibly prolific and has won numerous awards, including the Yale Younger Poets Prize, the Nightboat Poetry Prize, the Rome Prize and the Holloway Postdoctoral Fellowship in Poetry·      The book’s explorationof history and the fallen empire of Rome will appeal to a wide readership

“Beautifully written, The Eighth Moon uses a very light touch to probe the most essential, unresolvable questions of belief, kinship, fidelity, history, identity” (Chris Kraus).When an ongoing illness refuses to resolve, Jennifer Kabat returns from London to Margaretville—a rural village in the Catskill Mountains, not far from where she grew up. As her body heals, she discovers meadows dotted with milkweed in bloom, saffron orange salamanders, grackles nesting in arborvitae, ash trees marked with orange blazes, a blood moon. Small patches of land begin to hold glimpses of the past—and of what is yet to come. “I feel, too, all the other people on the land, beating and breathing into this moment with me.”As her life in Margaretville expands, Kabat comes to know her socialist yet conservative neighbors and reflects on her unconventional upbringing, including the progressive politics her parents instilled in her at a young age. She also comes to find that the history of this region is steeped in trauma. Once home to merciless land barons who bound tenants to the land in perpetuity, Upstate New York—her very street—was the site of the Anti-Rent War of the 1800s, in which tenants revolted and blood was shed. Connectedness abounds in Kabat’s way of seeing: the former revolution and the political conditions of today, a wax plant that mysteriously ebbs and flows with her mother’s declining health and eventual passing. “Grief is strange,” she says. “Time blurs. The dead are alive and present.”“Kabat is both a stylist and a temporal magician,” (Adrian Shirk). Ambitious and expertly threaded, The Eighth Moon is at once a search for how to live in a place and an enigmatic lesson in a new kind of seeing—one where everything is connected, and all at once.

Book is a collection of one of the twentieth century’s most celebrated postwar Europe poets, who is known as a cultural icon who protested Communism The author’s work introduces a singular perspective on the liberatory politics and histories of Slovenia, the former Yugoslavia and EuropeThe book’s translator is widely connected across the literary, translation and poetry communities The author’s work has been widely celebrated and praised by the Paris Review, the Guardian and Publishers WeeklyThe book is the first of its kind to offer a comprehensive English-language retrospective of the poet’s long career and will attract media and readers interested in examining poetry as protest and the histories of Eastern Europe

¿My language was born among trees, / it holds the taste of earth; / my ancestors¿ tongue is my home.¿ So writes Humberto Ak¿abal, a K¿iche¿ Maya poet born in Momostenango, in the western highlands of Guatemala. A legacy of land and language courses through the pages of this spirited collection, offering an expansive take on this internationally renowned poet¿s work. Written originally in the Indigenous K¿iche¿ language and translated from the Spanish by acclaimed poet Michael Bazzett, these poems blossom from the landscape that raised Ak¿abal¿mountains covered in cloud forest, deep ravines, terraced fields of maize. His unpretentious verse models a contraconquistäcounter-conquest¿perspective, one that resists the impulse to impose meaning on the world and encourages us to receive it instead. ¿In church,¿ he writes, ¿the only prayer you hear / comes from the trees / they turned into pews.¿ Every living thing has its song, these poems suggest. We need only listen for it. Attuned, uncompromising, Ak¿abal teaches readers to recognize grace in every earthly observation¿in the wind, carrying a forgotten name. In the roots, whose floral messengers ¿tell us / what earth is like / on the inside.¿ Even in the birds, who ¿sing in mid-flight / and shit while flying.¿ At turns playful and pointed, this prescient entry in the Seedbank series is a transcendent celebration of both K¿iche¿ indigeneity and Ak¿abal¿s lifetime of work.