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WINNER OF THE MIDWEST BOOK AWARDThe imagination of a girl, the retelling of family stories, and the unfolding of a rich and often painful history: Parneshia Jones’s debut collection explores the intersections of these elements of experience with refreshing candor and metaphorical purpose.A child of the South speaking in the rhythms of Chicago, Jones knits "a human quilt" with herself at the center. She relates everything from the awkward trip to Marshall Fields with her mother to buy her first bra to the late whiskey-infused nights of her father’s world. In the South, "lard sizzles a sermon from the stove"; in Chicago, we feast on an "opera of peppers and pimento." Jones intertwines the stories of her own family with those of historical black figures, including Marvin Gaye and Josephine Baker. Affectionate, dynamic, and uncommonly observant, these poems mine the richness of history to create a map of identity and influence.

Taking several ageless questions--"Where do we come from? Where are we going? What shall we do?"--as his point of departure, award-winning author Christopher Merrill explores the related issues of terror, modernity, tradition, and epochal transformation. In three extended essays, Merrill observes the performance of a banned ritual in the Malaysian province of Kelatan; traces Saint-John Perse's epic voyage from Beijing to Ulan Bator in 1921, and relates it to the China of today; and embarks on a trip across the Levant in 2007 in the wake of the American wars in Iraq and Afghanistan. Merrill asserts that it is in this trinity of human actions--ceremony, expedition, and war--that history is formed; and that the political, environmental, and social changes we're witnessing now presage the end of one order and the creation of another.

The Deepwater Horizon oil spill was the worst offshore oil spill in U.S. history: over the course of three months, nearly five million barrels of crude oil gushed into the waters of the Gulf of Mexico and washed up along our coast. Yet it was an avoidable environmental catastrophe preceded by myriad others, from Three-Mile Island to the Exxon Valdez. Traveling the shores of the Gulf from east to west with oceanographers, subsistence fisherman, seafood distributors, and other long-time Gulf residents, acclaimed author and environmental advocate David Gessner offers an affecting account of the aftermath of the Deepwater Horizon oil spill. With "The Tarball Chronicles" Gessner tells a story that extends beyond the archetypal oil-soaked pelican, beyond politics, beyond BP. Instead he explores the ecosystem of the Gulf as a complicated whole and focuses on the people whose lives and livelihoods have been jeopardized by the spill. He reintroduces this oil spill as a template for so many man-made disasters and the long-term consequences they pose for ecosystems and communities. From the compelling people and places Gessner encounters on his journey we learn not only the extensive consequences of our actions but also how to break a destructive cycle. Throughout, "The Tarball Chronicles" suggests we can make a change in the way we live and prevent future disasters if we are willing to fundamentally rethink our connections to the natural world. "This is a book about connections," Gessner writes, "and never have we needed to make connections like we do right now."

A collection of literary letters and mementos on the art of remembering across generations.For poet Victoria Chang, memory "e;isn't something that blooms, but something that bleeds internally."e; It is willed, summoned, and dragged to the surface. The remembrances in this collection of letters are founded in the fragments of stories her mother shared reluctantly, and the silences of her father, who first would not and then could not share more. They are whittled and sculpted from an archive of family relics: a marriage license, a letter, a visa petition, a photograph. And, just as often, they are built on the questions that can no longer be answered.Dear Memory is not a transcription but a process of simultaneously shaping and being shaped, knowing that when a writer dips their pen into history, what emerges is poetry. In carefully crafted missives on trauma and loss, on being American and Chinese, Victoria Chang shows how grief can ignite a longing to know yourself.In letters to family, past teachers, and fellow poets, as the imagination, Dear Memory offers a model for what it looks like to find ourselves in our histories.

"Exquisite . . . A powerful example of how to carry the things that define us without being broken by them." -WASHINGTON POST

A thoughtful new collection of poems, one that deconstructs the deceptively simple question of what it means to be gooda good person, a good citizen, a good teacher, a good poet, a good father.With These Trees, Those Leaves, This Flower, That Fruit, Hayan Charara presents readers with a medley of ambitious analyses, written in characteristically wry verse. He takes philosophers to task, jousts with academics, and scrutinizes hollow gestures of empathy, exposing the dangers of thinking ourselves separate / from [our] thoughts and experiences. After all, No work of love / will flourish out of guilt, fear, or hollowness of heart. But how do we act on fullness of heart? How, knowing as we do that genocide is inscribed in our earliest and holiest texts?Thoughtful but never preachy, Charara sits beside us, granting us access to lifes countless unglamorous dilemmas: crushing a spider when we promised we wouldnt, nearing madness from a newborns weeping, resenting our lovers for what happened in a dream. Good poems demand to be written from inside the poet, we are reminded. And that is where we find ourselves here: inside a lively and ethical mind, entertained by Chararas good company even as goodness challenges us to do more.

Presented in both English and Portuguese, this lyric poetry collection explores the "e;troublesome blessing and burden of being human"e; (Publishers Weekly).Love. Sex. Death. Meat. Traffic. Pets. In Cattle of the Lord, Rosa Alice Branco offers a stunning poetic vision at once sacred and profane, a rich evocation of daily life troubled by uneasy sacramentality.In a collection translated by Alexis Levitin and presented in both Portuguese and English, readers find themselves in a world turned upside down: darkly comic, sensual, and rife with contradiction. Here, liturgical words become lovers' invitations. Cows moo at the heavens. And chickens are lessons on the resurrection.Over the course of the collection, Branco's unorthodox-even blasphemous-religious sensibility yields something ultimately hopeful: a belief that the physical, the quotidian, and the animalistic are holy, too. Flesh, in all its meanings-the body of the other, caressed; the animals we abuse, and eat; the sacrificial offering of Christ-demands reverence.Writing at the boundaries of sense and mystification, combining sensuous lyrics and wit with theological interrogation, Branco breaks down what we think we know about religion, faith, and what it means to be human. "e;Lord, how much compassion will it take for you,"e; her speaker cries, "e;To be godfather at the Sunday barbecue?"e;Praise for Cattle of the Lord"e;In Rosa Alice Branco, via the compelling translations of Alexis Levitin, we find a poet of immense spiritual, as well as intellectual, curiosity."e; -Nicky Beer"e;A wild and sneaky book, filled with intelligence, wit, and theological anxiety. . . . Marvelous, moving, and obsessive."e; -Kevin Prufer"e;Throughout Cattle of the Lord, speakers wield their futile agency to beseech an impassive Lord in the face of their mortality. The result is a raw, daring interrogation that demands both contemplation and confrontation. Limbed with lush language, provocative imagery, and sharp sentiment, Branco's world is beautiful. But, make no mistake, it is foremost a bier."e; -The Los Angeles Review

Collection is winner of the Jake Adam York Prize, selected by poet Dana Levin, and a debut collection from the author, who has been widely published in literary journals Colorado Review, New Ohio Review, among othersStrong blurb from Jake Adam York Prize judge Dana Levin, who says "reading these poems is like embarking on a Twilight Zone episode where Franz Kafka bumps into Salvador Dalí . . . this is a singular debut"

A Ms. Magazine Most Anticipated Book of 2023A vibrant collection of personal and lyric essays in conversation with archival objects of Black history and memory.What are the politics of nature? Who owns it, where is it, what role does it play in our lives? Does it need to be tamed? Are we ourselves natural? In A Darker Wilderness, a constellation of luminary writers reflect on the significance of nature in their lived experience and on the role of nature in the lives of Black folks in the United States. Each of these essays engages with a single archival object, whether directly or obliquely, exploring stories spanning hundreds of years and thousands of miles, traveling from roots to space and finding rich Blackness everywhere.Erin Sharkey considers Benjamin Banneker’s 1795 almanac, as she follows the passing of seasons in an urban garden in Buffalo. Naima Penniman reflects on a statue of Haitian revolutionary François Makandal, within her own pursuit of environmental justice. Ama Codjoe meditates on rain, hair, protest, and freedom via a photo of a young woman during a civil rights demonstration in Alabama. And so on—with wide-ranging contributions from Carolyn Finney, Ronald Greer II, Alexis Pauline Gumbs, Sean Hill, Michael Kleber-Diggs, Glynn Pogue, Katie Robinson, and Lauret Savoy—unearthing evidence of the ways Black people’s relationship to the natural world has persevered through colonialism, slavery, state-sponsored violence, and structurally racist policies like Jim Crow and redlining.A scrapbook, a family chest, a quilt—and an astounding work of historical engagement and literary accomplishment—A Darker Wilderness is a collection brimming with abundance and insight.

"One of the most important German-language poets of the younger generation."-Goethe Institut

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"I needed to laugh and wonder and wince and gasp. I needed to see all this glorious seeing. You need this book too."-Danez Smith

Winner of the 2013 ASLE Book AwardWinner of the Reed Award for the Best Book on the Southern Environment 2011Named a Top Book from the South 2011 by The Atlanta Journal-ConstitutionA San Francisco Chronicle Gift Book Recommendation for 2011A Southern Independent Booksellers Bestseller“For those interested in putting the Gulf crisis in perspective, there can be no better guide than this funny, often uncertain, frank, opinionated, always curious, informed and awestruck, accounting of how we’ve gone wrong and could go right, a full-strength antidote to the Kryptonite of corporate greed and human ignorance.” —Atlanta Journal-ConstitutionTraveling the shores of the Gulf from east to west with oceanographers, subsistence fisherman, seafood distributors, and other long-time Gulf residents, acclaimed author and environmental advocate David Gessner offers a lively, arresting account of the aftermath of the Deepwater Horizon oil spill. With The Tarball Chronicles Gessner tells a story that extends beyond the archetypal oil-soaked pelican, beyond politics, beyond BP, and beyond other oil spill books in the market. Instead, heart on his sleeve and beer in hand, he explores the ecosystem of the Gulf as a complicated whole and focuses on the people whose lives and livelihoods have been jeopardized by the spill. With his

"An allegorical coming-of-age story told in a trusting and curious voice . . . Damas keeps us enthralled as [Francois] unravels the family mystery." -BBC

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Issue 25 of Copper Nickel is aesthetically diverse, featuring translation "folios" by 12th century Chinese poet Li Qingzhao, Chilean Nobel Prize-winner Gabriela Mistral, and Iranian short story writer Payam Yazdanjoo; poetry by Dilruba Ahmed, Michael Bazzett, Talia Bloch, Graham Foust, John Gallaher, Tony Hoagland, Cynthia Hogue, Ashley Keyser, Sara Eliza Johnson, Peter LaBerge, Shara Lessley, Adrian C. Louis, Kevin Prufer, Elizabeth Scanlon, Analicia Sotelo, Juned Subhan, Ellen Doré Watson, Lesley Wheeler, &c.; fiction by Meagan Ciesla, Viet Dinh, Joel Morris, Joanna Pearson, and Pete Stevens; and nonfiction by Robert Archambeau, Alex McElroy, and Hasanthika Sirisena.The cover of this issue features work by Denver-based painter and collagist Daisy Patton.

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Issue 26 of Copper Nickel features a diverse collection including translation "folios" of work by Norwegian poet Paal-Helge Gaugen, Franco-Algerian poet Samira Negrouche, and Austrian poet Elisabeth Schmeidel; poems by National Book Award and National Book Critics Circle Award Finalist Ada Limón, four-time Pushcart Prize winner Kevin Prufer, Yale Younger Poetry Series winner Fady Joudah, National Poetry Series winner Noah Eli Gordon, Canto Mundo fellow Rosebud Ben-Oni, NEA fellows James Hoch, Aimee Nezhukumatathil and Melissa Stein, Rockefeller Foundation fellow Robert Wrigley, Lambda Literary Award winner Maureen Seaton, as well as numerous emerging poets; fiction by Rona Jaffe Foundation Writer's Award recipient Ladee Hubbard, Story Prize finalist Daphne Kalotay, as well as emerging writers Kaitlyn Andrews-Rice, Emily Chiles, and Gianni Skaragas; and nonfiction by NEA fellows Don Bogen and James Allen Hall, Kudiman Fellow Shamala Gallagher, Best American Essays contributor Matthew Vollmer, and newcomer Sari Boren.The cover features work by Denver-based artist Rebecca Berlin.