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A major achievement by Monica Youn, "one of the most consistently innovative poets working today" (NPR)."Where are you from . . . ? No-where are you from from?" It's a question every Asian American gets asked as part of an incessant chorus saying you'll never belong here, you're a perpetual foreigner, you'll always be seen as an alien, an object, or a threat.Monica Youn's From From brilliantly evokes the conflicted consciousness of deracination. If you have no core of "authenticity," no experience of your so-called homeland, how do you piece together an Asian American identity out of Westerners' ideas about Asians? Your sense of yourself is part stereotype, part aspiration, part guilt. In this dazzling collection, one sequence deconstructs the sounds and letters of the word "deracinations" to create a sonic landscape of micro- and macroaggressions, assimilation, and self-doubt. A kaleidoscopic personal essay explores the racial positioning of Asian Americans and the epidemic of anti-Asian hate. Several poems titled "Study of Two Figures" anatomize and dissect the Asian other: Midas the striving, nouveau-riche father; Dr. Seuss and the imaginary daughter Chrysanthemum-Pearl he invented while authoring his anti-Japanese propaganda campaign; Pasiphaë, mother of the minotaur, and Sado, the eighteenth-century Korean prince, both condemned to containers allegorical and actual.From From is an extraordinary collection by a poet whose daring and inventive works are among the most vital in contemporary literature.

Castle by J. Robert Lennon is a mesmerizing novel about memory, guilt, power, and violenceIn the late winter of 2006, I returned to my home town and bought 612 acres of land on the far western edge of the county." So begins, innocuously enough, J. Robert Lennon's gripping, spooky, and brilliant new novel. Unforthcoming, formal, and more than a little defensive in his encounters with curious locals, Eric Loesch starts renovating a run-down house in the small, upstate New York town of his childhood. When he inspects the title to the property, however, he discovers a chunk of land in the middle of his woods that he does not own. What's more, the name of the owner is blacked out.Loesch sets out to explore the forbidding and almost impenetrable forest-lifeless, it seems, but for a bewitching white deer-that is the site of an eighteenth-century Indian massacre. But this peculiar adventure story has much to do with America's current military misadventures-and Loesch's secrets come to mirror the American psyche in a paranoid age. The answer to what-and who-might lie at the heart of Loesch's property stands at the center of this daring and riveting novel from the author whose writing, according to Ann Patchett, "contains enough electricity to light up the country.""

Beautiful essays by Fanny Howe, a poet praised for her "private quest through the metaphysical universe . . . the results are startling and honest" (The New York Times Book Review)Fanny Howe's richly contemplative The Winter Sun is a collection of essays on childhood, language, and meaning by one of America's most original contemporary poets. Through a collage of reflections on people, places, and times that have been part of her life, Howe shows the origins and requirements of "a vocation that has no name." She finds proof of this in the lives of others-Jacques Lusseyran, who, though blind, wrote about his inner vision, surviving inside a concentration camp during World War II; the Scottish nun Sara Grant and Abbé Dubois, both of whom lived extensively in India where their vocation led them; the English novelists Antonia White and Emily Brontë; and the fifth-century philosopher and poet Bharthari. With interludes referring to her own place and situation, Howe makes this book into a Progress rather than a memoir. The Winter Sun displays the same power as found in her highly praised collection of essays, The Wedding Dress, a book described by James Carroll as an "unflinching but exhilarating look at real religion, the American desolation, a woman's life, and, always, the redemption of literature."

The definitive collection of the poems of Lynda Hull, "perhaps the most intensely lyrical poet of her generation." (Mark Doty)If each of uscontains, within, humankind's totality, each possibilitythen I have been so fractured, so multiple & dazzling . . .-from "The Window"Lynda Hull's Collected Poems brings together her three collections-long unavailable-with a new introduction by Yusef Komunyakaa, and allows, for the first time, the full scale of her achievement to be seen. Edited with Hull's husband, David Wojahn, this book contains all the poems Hull published in her lifetime, before her untimely death in 1994.Collected Poems is the first book in the Graywolf Poetry Re/View Series, which brings essential books of contemporary American poetry back into print. Each volume-chosen by series editor Mark Doty-is introduced by a poet who brings to the work a passionate admiration. The Graywolf Poetry Re/View Series brings all-but-lost masterworks of recent American poetry into the hands of a new generation of readers.

"Lawnboy is, quite simply, the real thing, a novel of mystery and great beauty." -Michael CunninghamThey all thought I was good-natured, upright and responsible, generous, affectionate, and kind, and of course I could be those things, but there was much more to me than that, a side that unnerved even myself, and this side included William.Seventeen-year-old Evan's adventure begins with mowing a neighbor's lawn, a summer job that leads him into an unpredictable world of desire and betrayal. Estranged from his parents and his older brother, he moves in with forty-one-year-old William and begins a disastrous series of attempts to make a new home. Must he make a choice between his family and desire? First published to wide acclaim in 1999, Lawnboy by Paul Lisicky wanders the lush and tumultuous landscape of the early 1990s, its south Florida setting as fertile and troubling as Evan's inner life.

In 1991, Dana Gioia's provocative essay "Can Poetry Matter?" was published in the Atlantic Monthly, and received more public response than any other piece in the magazine's history. In his book, Gioia more fully addressed the question: Is there a place for poetry to be part of modern American mainstream culture? Ten years later, the debate is as lively and heated as ever. Graywolf is pleased to re-issue this highly acclaimed collection in a handsome new edition, which includes a new Introduction by distinguished critic and poet, Dana Gioia.

Selected as a "2003 Notable Book" by the American Library AssociationIn the early 1900s, E.J. Bellocq photographed prostitutes in the red-light district of New Orleans. His remarkable, candid photos inspired Natasha Trethewey to imagine the life of Ophelia, the subject of Bellocq's Ophelia, her stunning second collection of poems. With elegant precision, Ophelia tells of her life on display: her white father whose approval she earns by standing very still; the brothel Madame who tells her to act like a statue while the gentlemen callers choose; and finally the camera, which not only captures her body, but also offers a glimpse into her soul.

Winner of the Bakeless Prize for Fiction, an imaginative debut that ranges from Havana to Berlin* A Kansas City Star Best Book of the Year * One of Publishers Weekly's "Best Summer Books"*Ancient cities and fallen empires come to life in this masterful collection. In the Byzantine court, a noble with a crippled hand is called upon to ensure that a holy man poses no threat to the throne. On an island in Lake Michigan, a religious community crumbles after an ardent convert digs a little too deep. And the black detective Jackson Hieronymus Burke rises to fame and falls from favor in two stories that recount his origins in Havana and the height of his success in Kaiser Wilhelm's Germany. Ben Stroud's historical reimaginings twist together with contemporary stories to reveal startling truths about human nature across the centuries. In his able hands, Byzantium makes us believe that these are accounts we haven't heard yet. As the chronicler of Burke's exploits muses, "After all, where does history exist, except in our imagination? Does that make it any less true?"