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"Love Letter to Who Owns the Heavens considers the way that the absence of touch-in acts of war via the drone, in acts of love via the sext, in aesthetics itself-abstracts the human body, transforming it into a proxy for the real. "What love poem / could be written when men can no longer / look up?" this book asks, always in a state of flux between doubt and belief-in wars, in gods, in fathers, in love. Through epistolary addresses to these figures of power and others, these poems attempt to make bodies concrete and dangerous, immediate and addressable, once again"--

Poetry. Asian American Studies. Berkshire Prize for First or Second Book, chosen by D. A. Powell. Entranced by time and location and the body's longings, this is a book of self-translation. Each poem has gone through a transmigration process, as the poet negotiates between her native Chinese and her adopted English, attempting to condense, distill, and expand seeing and understanding.

Poems about celestial and mortal bodies. The Radiant explores the psychological, physical, and spiritual challenges of living in a body and the changes and distortions that arise from the experience of the body's limitations and inevitable death. The collection takes its title from the term for the point from which all meteors appear to emanate during a shower, luminous bodies in decay that when traced to their origin seem to converge at a single point. "Perhaps you can remember the time called before, the all-you-can-do-is-see-yourself-in-a-split-second where you recognize that everything you've ever known is going to be different after," writes Goett in the collection's final poem, "The Bookman," recounting radiant points of no return and transformation that, in spite of their challenge, remain luminous.

The conclusion of G. C. Waldrep's trilogy exploring chronic illness. In The Opening Ritual, G. C. Waldrep contends with the failure of the body, the irreducible body, in the light of faith. What can or should "healing" mean when it can't ever mean "wholeness" again? And what kind of architecture is "mercy" when we live inside damage? These are poems that take both the material and the spiritual seriously, that cast their unsparing glances toward "All that is not / & could never be a parable." The collection concludes with a sequence of truly grand meditations on spiritual consciousness--in one the poet notes how, in the stillness of contemplation, the world begins to hum and resound with music. The Opening Ritual attends to and fashions its song from that music.

Poems that radiate with incredible artistic vision and writerly craft. Pain, piercing, and language: with urgent lyricism and lacunae on the page, The Right Hand explores the physical, emotional, and philosophical experiences of chronic pain, bodywork (especially acupuncture), and healing. In the second half of the collection, the poet spends extended time with Bernini's sculpture of St. Teresa in Ecstasy in Rome, finding this famous scene of wounding to be in dialogue with her own experience of pain, as well as her suspension between languages and spiritual isolation. In The Right Hand, the hidden sites of the body speak, and Bernini's centuries-old arrow pierces us with hurting eloquence.

Rosa Lane brings a necessary, gender-fluid, feminist perspective to the Emily Dickinson table of debate. In bold tribute with a title utilizing the last two words Emily Dickinson wrote, Rosa Lane's Called Back converses with one of our greatest poets in theatrical monologue--decoding secrets amid the blatant. Evoked by epigraphs selected from Dickinson's work, Lane's poems, through her I-speaker, reveal the extraordinary to be found in the ordinary and speak to the struggle of sexual orientation, otherness, and the challenges of living in a Calvinistic socioreligious world of oughts and noughts as evidenced in Dickinson's poems. From sapphic eroticism and subsequent pangs of nonbelonging to tacking next life as a welcome reprieve, poems in Called Back create a de novo dot-connecting lyrical narrative.

Set against the backdrop of a changing urban landscape, the poems in Tender Machines swing between the domestic and the surreal, charting motherhood, desire and an immigrant family's haunted inheritance. Mapping the lives of women and the lives they inhabit, poems such as "Small Essays on Disappearance,"--which channel the aftermath of motherhood and 9-11--collide with aubades describing mornings in a ruined city: "buying food at the bodegas...nectarines and skin-tight plums." The poems in Tender Machines live in the space between the public and the private, braiding an intimate narrative. This is an intersectional portrait of womanhood with all its losses, departures and wonders.

"In Preeti Kaur Rajpal's debut collection, she wonders what it means to be part of the modern world with its many divisions and violences. She writes through the memory of her Sikh family's violent expulsion during Historical India's Partition. She threads this history with her experiences as a Sikh American woman during the post-9/11 era. Formally daring and lyrical, the poems of membery weave memory, Sikh spiritual tradition, family, country, and language acquisition as they forge the author's own language."--

Poetry. Literary Nonfiction. Edited by Katie Farris, Ilya Kaminsky, and Valzhyna Mort. There has been no anthology in English dedicated to the poetics of the great generation of Russian modernists. For a group of poets so widely admired, relatively little seems known about their philosophy of poetry and their poetic influences, and although there is tremendous aesthetic diversity in this group, they have more in common than many readers assume. Russian poetry was a small world, made even smaller by the arrests, disappearances, pogroms, famines, assassinations, and political conflagration of the revolutionary era, and literary differences were often overcome by a mutual sense of historic cataclysm. This anthology's structure is like textile, with many common threads intertwining, doubling back, sometimes unraveling--creating a matrix of poetic conversation: Mayakovsky on Khlebnikov, Pasternak on Mayakovsky, Tsvetaeva on Pasternak, Brodsky on Tsvetaeva, Akhmatova on Mandelstam. Shared themes range from expected (the word) to serendipitous (the ocean). Above all these poets are obsessed with proximity--to God, to nature and place, to poetic predecessors, to language (their own and others), and always, forever, to the inexpressible.

In poems of memory, psychogeography, desire, and self-mythologization, then telling be the antidote is Xiao Yue Shan's assertion against the malignancy of forceful silences. By illuminating what has been left untold, these writings present the vivid landscape of a mind layering itself over the world, thinking and speaking its way through a myriad of places, objects, and visions. From rooms overlooking Tokyo rivers to Shanghai streets in the thrall of nighttime, Shan throws light on a nation's quieted crevices, on the distances between the carnal and the eternal, and most pivotally, on the ability of language to elucidate fact with imagination.

"Selected by John Murillo as the winner of the Dorset Prize, Asterism contemplates the wonders and challenges of polycentric living, ultimately interrogating capitalist enactments of fixed and exclusive belonging. Migrating between S. Korea, Peru, and the U.S., the poet finds luminous homes at the interstices of bridges, flight layovers, languages, desires, imperfect memories, and mutable mouths. Lee blurs the line between self and other as words translated into connotations meet on the page with portraits of co-inhabited identities, histories, and tender relationships. Throughout, each line longingly, bravely unfurls towards strangeness and beauty of her own making"--

In 1953, Yoko Ono wrote a score called "Secret Piece," an open-ended formula for musical performance in a forest at daybreak. Beginning with this invitation to creation, and using essays, diary entries, prose maps, and verse fragments, Kazim Ali marks a path through quantum physics, sixth-century Chola Empire sculptures, the challenges of literary translation and of climate change, and destruction of a priceless set of handmade flutes by airport security. Amid shards from far-flung histories and geographies he finds the cosmos.

In this award-winning debut collection, the smallest things of the world bear enormous emotive weight. For Jenny Molberg, the invisible and barely visible are forms of memory, articulations of our place in the cosmos. Parsing the intersections between science and personal history, and contemplating archival letters from 17th- and 18th-century scientists along with new studies in biological phenomena, Molberg's poems examine complexities of relationships with parents and the faultiness of certainty about earthly permanence. In the title poem, a child begins by looking at an ant through a microscope, and later, as a husband and father, with the same discerning eye he recognizes the cancer in his wife's breast. Marvels of the Invisible sounds the depths of both grief and amazement, two kinds of awareness inseparably entwined.

Soft spoken and intuitive, these deeply reflective poems demonstrate the miraculous common currency of thinking, expressed like confidences shared with a reader: "the latent world wavers between us. . . ." Highly visual and verbally chromatic, eschewing punctuation and rigorously open-ended, these poems pursue intimate recognitions in compact forms energized by intuitive jumps.

Praising the power of lyric drama, T. S. Eliot described the use of third voice as a means for characters to address and interrogate one another, and second voice as a way for characters to talk to the audience. In this daring new book, the principal narrator presents as a caricature reflecting the tangible experiences of a disembodied "I" posed against absurd selfhood--a voice imbued by sublime otherness. Within a dismantled minstrel show, Ruth Ellen Kocher frames a female voice splintered and re-figured as "self" and "character." The incomprehensible nature of the sublime emerges through a cast of other personages including Eartha Kitt, Geordi LaForge, Immanuel Kant, W. E. B. Du Bois, and Malcolm X. Third Voice asserts lyric beyond personal expression and drama beyond the stage, using the spectacle of minstrelsy as a deformation of mastery in an audaciously conceptual yet visceral performance.

"Pretend that these poems by Lawrence Raab have come to you from very far away. Think of them as written by Poet Z, a heretofore-unheard-of Eastern European poet, a Kafka-Andrade-Calvino character from Serbo-Chechnya-Lithuania. What's in his poems? Angels and human monsters, decades and generations, universities turned into ashes, the consolation of philosophy, despair in the middle of the night, a tutorial in lucid dreaming. Only his poetic humor gives away his American citizenship. His poems lead you into, then trap you, in strange worlds, boxes constructed of story, logic, and aphorism, which then are revealed to be exactly like life itself. Now, these poems by Z have finally been translated into an American idiom that is canny, sly, defeated, pessimistic, resilient, and perplexingly knowledgeable about the human predicament. They are also often beautiful, bewildered, disquieting, and full of paradoxical laughter and contemplative solace. Mistaking Each Other for Ghosts is a tender, lonely, deeply intelligent tour of that distinctive country of the soul."

In her polyphonic poems, Suzanne Dracius creates protagonists--usually calazazas, light-skinned mulatto women with red or blond hair--who fight like Amazons against racial and gender discrimination. Dracius's voice is leaping and exalted, often sexually charged, and infused with allusions to Greek and Roman mythology. Nancy Naomi Carlson has translated Dracius's Exquise déréliction métisse, poems written in French yet including some Creole versions, and with Creole expressions sprinkled throughout. In French, this book was awarded the prestigious Prix Fètkann, whose judges cited the poet's richness of language, with varied linguistic registers.

In the sequence of poems comprising Annie Guthrie's first book, the quest for the meaning of human consciousness and its tangled subjectivity is drawn as a slow-building narrative of the mystic experience. The journey enacted is that of the self as character, who encounters insurmountable mysteries in a breaking selfhood. A dossier of contemplative exploration, THE GOOD DARK chronicles an immersive search in three acts: Unwitting, Chorus, and Body: stations through which the character must pass, and where she is accumulatively confessed, compounded and erased.

Poetry. A vivarium is an enclosure for living things--plants or animals--which might likewise be said of a poem. With a vivacious sensibility and unruly leaps from elegiac to ironic, Sajé's new book is an abecedarium, fully using the page, and challenging all manner of received wisdom. Employing lyrics, lists, arguments, narratives, and meditations, and including prose poems devoted to particular letters as well as invented visual or conceptual pieces, in VIVARIUM the alphabet is endowed with power far beyond usefulness. Form breathes life in this book, and the lived emotion of these poems defies death.

Poetry. Winner of the Dorset Prize, selected by Tom Sleigh. In his new book, Jeffrey Harrison reflects on the daily familiarities and fragilities experienced in a long marriage and as a parent of teenagers, refracted through the shock of a brother's suicide. Limpid and direct on the surface but eloquent in resonance, INTO DAYLIGHT asks what comes after: How to live, how to continue writing, and how to find one's proper relationship with the world and restore some semblance of delight, while giving voice to sadness and pain.

Darktown Follies, Amaud Jamaul Johnson's daring and surprising new collection of poems, responds to Black Vaudeville, specifically the personal and professional challenges African American variety performers faced in the early twentieth century. Johnson is fascinated by jokes that aren't funny -- particularly, what it means when humor fails or reveals something unintended about our national character. Darktown Follies is an act of self-sabotage, a poet's willful attempt at recklessness, abandoning the "good sense" God gave him, as an effort to explore the boundaries and intersections of race and humor.

Like Neruda and Paz, Perse and Milosz, Christopher Merrill is both a writer and a cultural envoy, crisscrossing the globe as chronicler and courier. Boat records a series of passages over a decade, employing varied formal strategies: meditations and fantasias, prose poems and versets, lyric sequences and narratives, translations and ghazals. Composed in war zones and embassies, refugee camps and monasteries, Boat is a logbook tracking questions of memory, the body and body politic, faith, mortality, and the ways of knowledge moves through generations. Reflecting ten years of life on the wing and forty years of writing, including extensive translation from other languages, Boat bears witness to what Merrill has heard and seen in places most Americans will never visit.

The most up-to-date anthology of contemporary Chinese poetry, translated by American poets and edited by the executive editor of the bilingual literary journal Poetry East West. Showcasing the achievement of Chinese poetry in the last twenty years, a time of tremendous literary ferment, this collection focuses on a diversity of exciting poets from the mainland, highlighting Duo Duo (laureate of the 2010 Neustadt International Prize for Literature) and Liao Yiwu (recipient of 2012 Peace Prize of the German Book Trade organization) along with not yet well-known but brilliant poets such as Zang Di and Xiao Kaiyu and younger poets Jiang Tao and Lü Yue. The anthology includes interviews with the poets and a fascinating survey of their opinions on "Ten Favorite Chinese poets" and "Ten Best-Known Western poets in China." Featured poets: Duo Duo, Wang Xiaoni, Bai Hua, Zhang Shuguang, Sun Wenbo, Wang Jiaxin, Liao Yiwu, Song Lin, Xiao Kaiyu, Lü De'an, Feng Yan, Yang Xiaobin, Zang Di, Ya Shi, Mai Mang, Lan Lan, Jiang Tao, Jiang Hao, Lü Yue, Hu Xudong, Yi Lai, Jiang Li, Zheng Xiaoqiong, Qiu Qixuan, and Li Shumin. With translations by Neil Aitken, Katie Farris, Ming Di, Christopher Lupke, Tony Barnstone, Afaa Weaver, Jonathan Stalling, Nick Admussen, Eleanor Goodman, Ao Wang, Dian Li, Kerry Shawn Keys, Jennifer Kronovet, Elizabeth Reitzell, and Cody Reese.

domina Un/blued dislocates the traditional slave narrative, placing the slave's utterance within the map and chronicle of conquest. Charting a diaspora of the human spirit as well as a diaspora of an individual body, Ruth Ellen Kocher's award-winning new book reaches beyond the story of historical involuntary servitude to explore enslavements of devotion and desire, which in extremity slide into addiction and carnal bondage.

The Vital System is the first published book by a poet already setting off sparks among readers across the globe. In these poems, the body is always at stake -- vulnerable -- and the poet dares to try and illuminate what she has called "the protective capability of violence." Burroughs's compression of phrasing, subverted syntax, and ability to release a story through cinematically sequenced images allow her to expose particular tensions that are gendered and racial as well as essentially human.

A buffeting sequence of dramatic monologues that provoke and disturb, Larissa Szporluk's Traffic with Macbeth evokes a dark world linked to the black magic of Shakespeare's tortured Scottish assassin, usurper of kings. Baroque in their sweep of high style and low slang, melody and dissonance, these poems use shifting animate and inanimate speakers and surrealist leaps to convey human brutality, the vulnerability of women and children, madness, and the struggle to escape the limitations of this world.

Like the wading birds of the title, the poems in this collection find their sustenance in the ground, tilling the earthly measure, even as they lift questions toward the heavens. Summoning the pastoral and the oracular by turns, the poems of Sanderlings achieve a preternatural rapture, both sensual and learned.

Winner of the Tupelo Press / Crazyhorse First Book Prize Under the influence of broadcasts such as public radio's "Marketplace" (a daily roundup of stock reports and business news), Daniel Khalastchi composed a series of character-driven poems whose recurrent narrator is physically and mentally manipulated while the world around him takes little notice. Through their chaos and horror, these poems ask a reader to question the ways in which our careening healthcare system, crumbling financial/housing/job markets, and war on multiple fronts are actually affecting us -- both inside and out.

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Part creation myth, part prophesy, Kristin Bock's Glass Bikini stitches together the fabrics of our dystopian present, reminding us of our culpability and power in this grand, human experiment. These often darkly humorous poems guide readers into dreamscapes and under-worlds that are ominously contemporary. From a looking-glass planet, we peer back at our own homes and see the news as a horror movie. There is the sickening feeling that something has gone terribly wrong. Monsters prowl here inspired as much by Sarah Kane as Mary Shelley. We hold a tiny prehistoric horse in our paws. We are masochistic voodoo dolls traipsing hand in hand through grisliness and the sublime. If there is any hope in this nightmarish proliferation of cyborgs and militia, it lies within the liberating powers of the feminine. Glass Bikini is both mirror and warning, asking us to see our own strange and terrifying shapes, the monsters we have helped create, and the ones we have become.