Böcker utgivna av TUPELO PR

A complex and multifaceted reckoning with literary and cultural lineage, Mike Lala s The Unreal City locates our moment, and reimagines what we might make of it, by subjecting the history of literature to a radical dâetournement.

"Every poem in April at the Ruins is a powerhouse: rich, quietly essential, profoundly lucid. Many have flavors of the best parables or folk tales, bringing us into intimate relation with mysteries and transformations abounding around and inside us. The book's title accurately encapsulates Raab's role as negative capability ninja, evoking both spring's beginnings and the flotsam and jetsam of endings. Opposite possibilties and alternative scenarios thrive side by side within the marvelous, snow-globe-like worlds of his poems: what did happen or what might have, the questionable nature of revelation, the slipperiness of the stories we tell ourselves, how we live suspended between death and utter loveliness. Raab's sense of irony is unerring. These poems prove that one of the only true forms of consolation is giving darkness its due. -- Amy Gerstler"--

"This collection considers what it means to be a queer nonbinary daughter in search of mother and myth as refuges. Inhabiting and breaking inherited forms like the sonnet, the speaker rewrites mythology to find new possibilities of queer transformation within inherited traditions--in which bodies not only change to trees and deer to escape the cishet male gaze, but also break the gaze itself. Intimate lyrics chart the interior landscape of the speaker's asexuality and aromanticism and explore the queered nuances of body and of platonic friendships. In the process, the book explores the mother wound of how these myths are inherited and what it means to create a new story, a new vocabulary, a new kind of breaking"--

Poetry. LGBT Studies. Winner of Tupelo Press's Snowbound Chapbook Award selected by Dana Levin. Stacey Waite's THE LAKE HAS NO SAINT is a study in grief--a work of poetic archaeology that traces the artifacts of the past into the relationships of the present. Embedded in a powerfully modulated sequence addressing a "you" who shifts in location and identity, many of these poems feel like forms of request, imploring. The speaker's androgynous self-awareness--and wary attention to the gendered assumptions elicited by bodies--disclose in each poem a recognizable but disorienting (and pressurized) situation. THE LAKE HAS NO SAINT will unsettle a reader's sense of the certainty and stability of gender, as grammar and phrasing are also disrupted and blurred, often requiring us to read closely to hear where one sentence ends as another begins. Yet despite its formal and thematic iconoclasm, this is a book that clearly elucidates a story both heart-rending and ultimately--in its vatic honesty--triumphant.

"In brief paragraphs that are neither prose nor prose poems, we meet a witness. A speaker who is not in her country of origin. A woman living in the air of violence. Militarization. And very occasionally, a mundane gesture-adding sugar to tea. The spareness creates a poetics that is, at once, elegantly stark and akin to journalism. We read between the lines because what is unsaid, makes this a poetry of image and association. What was once a broom for sweeping a kitchen, is used by a woman to sweep propaganda leaflets off the street. I find myself engaged in a place-to a place, really-where there are ballistic helmets. Yes, strange and strangely familiar. This is how art and dreams work: with the familiarity of knowing and the disassociation that can allow insight." - from the Judge's Citation by Kimiko Hahn Why Misread a Cloud takes its name from clouds of ash and smoke in wartime which appear to the author as a "storm, blown over the sea." Both an exploration of the mind's ability to turn what is into something else, in order to survive, and the mind's ability to resist the effects of psychosocial warfare-imposed by the military and the police. "Who wants you to be afraid" the poet's friend asks as he "added sugar to his tea." The realization this question brings enables the poet to explore forces that separate us from one another and ways we rise up within ourselves to move through fear toward love.

"In Rohan Chhetri's Lost, Hurt, or in Transit Beautiful,? inherited literary forms- the ode, the lyric, and pristine tercets- are juxtaposed with gorgeously fractured and stylistically daring hybrid pieces. The end result is a work in which poetic technique is brought to bear on lingering questions of identity, artistic tradition, and the cruelty implicit in language itself. Here, form, grammar, and syntax function as a kind of containment, but also, a 'ruined field' that is rife with possibility. Chhetri dramatizes and resists the ways language, and its implicit logic, limit what is possible within our most solitary reflections, defining even those 'vague dreams' that in the end we greet alone. 'This is how violence enters / a poem,' he explains, 'through a screen / door crawling out & Mother asleep on the couch.' These pieces are as lyrical as they are grounded, and as understated as they are ambitious. 'In my language, there is a name for this music,' he tells us. As his stunning collection unfolds, Chhetri reminds us, with subtlety and grace, that the smallest stylistic decisions in poetry are politically charged. This is a haunting book."-from the Judge's Citation by Kristina Marie Darling

Literary Nonfiction. Spiritual improvisations, radiant acts of attention: echoing Thoreau's Walden, the meditations of Guy Davenport, and Kenny Moore's groundbreaking articles for Sports Illustrated, Thomas Gardner strides through inner and outer landscapes. Freed by disciplined effort, the runner's mind here roams and mourns and remembers.