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An acclaimed “poet’s poet” with deadpan wit and a gift for lyric innovation reveals an entirely new side of Korean contemporary poetry.This debut English-language collection by Shin Hae-uk offers up poems that rebel against the thin boundaries between self and others, human and object, speaker and addressee. These poems inhabit the voices of houses, colors, planets, childhood friends; they know the manic spunk of a good day and the dizzy lethargy of a bad memory. In this kaleidoscopic collection, Shin broke open for a generation of young poets the possibilities of time, tense, and speaker. Critics in her home country praise her as a prophet of the post-human, asking what is it like to exist and feel—as a dead animal, as a sound, as someone else’s memory. But for all its philosophical intelligence, Shin’s poetry is also funny, friendly, and sometimes even snarky, full of jagged left turns and mood changes. Shin knows what it’s like to feel you can be three different people within three minutes. These quirky, clever poems are for everyone who has ever shared that feeling.

A sensory-rich collection of poems that conjures magical worlds that combine the gorgeous imaginings of child’s play with the mystery of dark fairy tales.A lyric meditation on childhood, adulthood, parenting, grief, fear, and joy, The Sisters is a book of prose poems that began as bedtime stories.  A kaleidoscopic invocation of imagined lives, these poems transform familiar myths, fables, and fairy tales into whimsical worlds that are a bit more fragile and bit more true. Through a series of prose poems, The Sisters confronts what it means to raise children and grow up amid climate catastrophes, insistent threats of gender-based violence, and the shocks of late-stage capitalism. These are ethereal and eerie stories full of torn edges, a series of dazzling lullabies that will soothe you awake.

A collection of 29 ecopoetic vignettes that explore the complexities of politics and progress in the Global South.Known colloquially as “the odd month” for its unusual number of days, February in the rural Argentine imaginary has historically represented an auspicious time: the only month without rain, in which that season’s crops are gathered, celebrated, tallied, and accounted for. Drawing on this idea, The Odd Month charts a dystopian, lyrical landscape at the intersection of the twentieth-century agroindustry in Argentina and the devastating drought in the region from 2008 to 2009. The poems are informed by the Argentine rural literary tradition while reflecting on the ways a once-idealized landscape has since been transformed. As these ecologically engaged poems show, if on the one hand there is the law—of the family, of religion, of animal domestication, of trickle-down economics, of national identity—attempting to produce order through different systematizations of the natural, on the other is the way in which animal and plant life put these laws into crisis and resist being mastered by humans.

Poetry. Zachary schomburg has delivered his latest work from a dark place, where little machines repeat in a hollow voice, this is only further proof of your badness. presented in a single narrative, THE BOOK OF JOSHUA is a sorry heart begged out of dreams, death & a horse's eye. It is an epic journey not only affirming that there is a difference between sadness and suffering, but that Schomburg is one of the most unusual poets writing today, pushing his work beyond our familiarity. These poems have a thirst for blood, but they don't yet know exactly what to do with their hands. THE BOOK OF JOSHUA calls out in hunger and loneliness, I didn't feel like living in anything not shaped like me anymore.

From the co-publisher of acclaimed poetry press Omnidawn, Risk engages directly with limitations, both those that structure the literal form of the poems and literary form and those that are both unavoidable and self-inflicted.In Risk, award-winning poet Rusty Morrison uses a constraining form of seven-syllable segments with breaks between to explore questions of limitation. In these poems, she is not just writing about constraints, but living inside and seeing how to manage them. In this way, the speaker of these poems actively experiences limitations as event, not aftermath. Drawing on the idea of philosopher and critic Hélène Cixous who writes that "the border makes up the homeland, it prohibits and gives passage in the same stroke," in Risk Morrison aims where the border and framings she uses offer understanding and where boundaries should be pushed against and passed beyond, as frightening as that might be.

Dandelion fences, twine wires, shoebox roses: Savich's fanciful, stark meditations showcase the momentary and the momentous. Momently is a collection of meditative but probing poems that ask questions of the tangible and the ephemeral, in which the every day is given a new weight. The celebrated poet's latest collection deepens his exploration of the delicate and the durable, of entropy and its remainders, offering an "ethics of deciding to see." Momently stays alert to "the language you can stand when you can't stand language," cultivating insights and instances that may sustain us "here, where not even ruin lasts."

What does the rise of artificial intelligence mean for creative industries? As digital technologies in language modeling and generative visualization become increasingly sophisticated, questions about originality and the role these emerging tools play in art and culture take crucial positions in not just today's discourse, but for generations to come. In a collection of essays and interviews from Jesse Damiani, I Create Like the Word explores these topics through expert panels of AI developers, artists, researchers, and curators as well as through an ekphrastic process where original art weaves an exchange between human and machine, emphasizing the relationship between prompt and craft. This puts us at an emerging trailhead of poetics that asks us to face the role computers have within our own very ancient, very human traditions: the role of the poet and sublime expression. Support from OpenAI, compelling programming. This title has received a grant from OpenAI, who also provided the underlying generative technology used in the creation of the book, and will be well-positioned for a variety of literary and art world-facing events, including gallery panel discussions, bookfair placements between AWP and the LA Times Festival of Books, and at independent booksellers across the United States. We encourage contributors to participate with us in the release process of I Create Like the Word.

Poems that break with traditional syntax and disrupt our perceptions of how language works in this first collection in English of poems by one of South Korea's most established contemporary poets and critics. These poems build strikingly on the breakthroughs of Korean forebears like Yi Sang and Oh Kyu-won. They also establish Lee as an interlocutor in a wider conversation: her problematized "repetitions" chime with and against those of Gertrude Stein and Leslie Scalapino, while her refiguring of the mundane reads like a darkly inverted congener to that of Alfred Starr Hamilton. Marked by a distinctive voice and approach, Just Like introduces a brilliant and singular contemporary Korean writer into English. The poems of Lee Sumyeong's Just Like evince a striking tension between clarity and complexity. Purged of any heightened diction or preciously wrought syntax, Lee's writing can give the impression of being austere to the point of crystallinity. But it is the opposite-a teeming space where concrete objects become unstable and where simple propositions constantly buckle and fissure.

The debut collection from Bill Knott that influenced a generation of poets and rockstars is now back-in-print for the first time in almost 60 years and includes a new introduction by Richard Hell. Bill Knott's first book, The Naomi Poems: Corpse and Beans, was written under the pen name St. Geraud, the fictional persona of "a virgin and a suicide" who allegedly died two years prior to publication. The Naomi Poems was received to great acclaim and brought him to the attention of such poets as James Wright, who called Knott  an "unmistakable genius." It also went on to inspire generations of fellow writers-from James Tate to Mary Ruefle to Denis Johnson. While first editions have become treasured collector's items today, and its poems mixed and remixed into numerous anthologies over the decades, The Naomi Poems is finally available in its original form for the first time since its original publication. "Bill Knott writes stunning poems in which he wires the head to the heart in such surprising ways that the results are truly electrifying. More than anyone of his generation, he shows us just how wild American poetry can be."-Billy Collins"There's no other poet like Bill Knott."-Yusef Komunyakaa

A debut poetry collection that draws on the music and culture of flamenco to explore diasporic experience.In Seguiriyas—which derives its title from the flamenco palo (or “song form”) of the same name—Ben Meyerson picks paths through the reverberations of diaspora, displacement, and transit. Meyerson's poems travel between his upbringing in an Ashkenazi Jewish family in Toronto and his time spent plumbing the historical tensions that animate Andalusian culture. Within diaspora and dispersion, Meyerson assembles an array of reference points ranging from the history of the Roma in Spain, flamenco performance, medieval Iberian poetry, rock music, and the echoes of Jewish ritual practice. Seguiriyas does not seek to neatly arrange the pluralities that it observes; rather, it moves in their wake, offering a form of careful attention and vibrant song.

A collection of poems that gives new life and magic to the everyday. Radio Days offers a unique collection by Ha Jaeyoun in a distinct, clear style, distinguishing it from her previous works in English. Although her poems range widely in topic, they are united by lucid language and breathtaking imagery. Through vivid impressions of humid childhood summers, Radio Days is an extended meditation on the heartbreak of growing up and being alive. Together, the poems create a whimsical, quietly unsettling, and nostalgic universe that is easily entered while refusing to make obvious statements on loss and love.

In a collection of poems that collapses the spectrum between the theoretical and the personal, that is at once intimately lyric and researched, Isaac Pickell travels through various borderlands of space, memory, and identity in search of an "original shade." In failing to find what he's looking for, the poet is equally drawn to the beauty and cruelty of a world addled by capitalism, careening the reader into collisions with complicity and possibility. Enigmatic and striking, It's not over once you figure it out offers rich, layered poetry that is tender with its subjects of generational trauma, liberation, and the Black and Jewish experience.

First English-language collection from a leading poet in South Korea. Kim Haengsook is one South Korea's most eminent contemporary poets, but a complete collection of her poems has never appeared in English before now. This selection draws on her work across her career and five books in Korean. Haengsook's poetic spaces are shrouded in a magic fog that is clarifying instead of obscuring. Built out of a language that incorporates a strategy of what she calls "precise ambiguity," her work radiates outward like great waves whose philosophical rhythm you can't help but get caught in.

Wail Song: or wading in the water at the end of the world is a multi-form long poem that offers an extended contemplation on being that lays bare how the construction of the human and the animal both rely on black abjection. Readers find themselves in the belly of the whale, and in that darkness, Wail Song asks readers how deep they are willing to wade in the water with blackness. The poems of Chaun Webster assume the world is not enough and is straining through each syllable, and with the end of the world in the rearview, they demand what we might do in blackened flesh with the time that remains.

Soliloquy with the Ghosts in Nile explores the role of silence in a time of war. The war Hussain Ahmed accounts here is both physical and psychological, and the survivor within these poems uses his voice as a way to tell the stories of those who were lost. The experimental poems track grief as it extends from the personal “Iâ€? to a larger community that grapples to find connections with places that are no longer in existence. These are poems that must resist the danger of fear in order to ensure that the victims are not forgotten, resulting in a powerful result is a collection of survival stories that insist on being told.

Some of the poems have been published in translation in English-language journals such as Asymptote and TinderBox Poetry, which have been increasing interest in Shin's work.Shin is very well-known and established in South Korea and will be a recognizable name to those familiar with contemporary Korean literature.Taps into an ongoing interest in Asian literature in translation.

Lyrically inventive, ekphrastic poems that interrogate art, race, and humanity‿s dark history. These poems stress the weight of what it means to speak from and in an already “knownâ€? world.  In this debut collection from Keith Jones, the opening poems tarry with and think alongside the paintings of Cy Twombly. If Twombly is a painter of the Middle Sea, this song series conjures the longue durée of the Middle Passage. The poems then turn to resituate a “youâ€? and “Iâ€? in a world, our world, disfigured by false and deathly approximations of the “human.â€? Perched on the jagged-edge of how many known and unknown catastrophes, how do we remake, rethink, reimagine, repair in language and act our relations to one another and to the earth?  In the thinking and feeling of these poems, the great recursive swirling arcs of Twombly‿s painterly line recur and intersect. Beyond the materiality of Twombly‿s paint, beyond the materiality of the poem, we arrive at a profound place of thought, a kind of state, perhaps a republic of many worlds, alive to all our relations and how much they matter.

"This is a threat." That's how Hackers, Swedish writer Aase Berg's seventh book of poetry, begins. Hackers is a furious, feminist book about wanting to "hack" the patriarchal system-both in the physically violent sense and in the sense of computer hacking. But Berg also reveals the 'hag' behind the 'hack,' channeling the non-compliant rage of Glenn-Close-as-bunny-boiler from Fatal Attraction. The world Berg "hags" back at is a world of sexist, capitalist, environmental, globalized violence. The fury of the hacker/hag/captive/revenger is constantly boiling up on the edges of Berg's compounds and highways, threatening to infiltrate the center. In these spectacular battle scenes and hacked pastorals, where nature is besieged by the highways of progress and the animals don't give a damn about the humans, the hag rises.

Elisa Gabbert's L'Heure Bleue, or the Judy Poems, goes inside the mind of Judy, one of three characters in Wallace Shawn's The Designated Mourner, a play about the dissolution of a marriage in the midst of political revolution. In these poems, Gabbert imagines a back story and an emotional life for Judy beyond and outside the play. Written in a voice that is at once intellectual and unselfconscious, these poems create a character study of a many-layered woman reflected in solitude, while engaging with larger questions of memory, identity, desire, surveillance, and fear.

In Zachary Schomburg's own words, Pulver Maar is "is a collection of poems written between 2014 and 2018. Some of the poems are long, and some of them are short." These are every bit the poems you've come to dream of, long for, and expect from Schomburg, where clouds fall in love and Bob the Buoy bobs in the center of the sea. They are playful but not all play; they carry a humanity and an acute awareness of what it is to try to make a life, whether you're a mountain or dust or just a human.