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Susanna J. Mishler "pays meticulous attention to the elements of a ravishing, damaged, stern-but-fragile world; she uncovers real beauty in the linkages. And makes real beauty too" (Linda Gregerson).

Winner of the 2012 Benjamin Saltman Poetry Award, Our Vanishing is a precise and fiercely compassionate volume of weathered tenderness.

A darkly comic novel about two young brothers trying to make sense of an increasingly bleak world in small town Pennsylvania during World War II.

The Los Angeles Review is a literary journal of divergent literature with a West Coast emphasis. Established in 2003, LAR publishes both the stories of Los Angeles, endlessly varied, and those that grow outside our world of smog and glitter. LAR seeks voices with something wild in them, voices that know what it means to be alive, to be fallible, to be human.

New poetry by Kim Dower, whose "sensual and evocative" verses "seamlessly combine humor and heartache" (The Los Angeles Times)

Struck by a devastating personal loss, aging rock legend Jack Voss must take an unflinching look at his past to understand why his world has come undone.

The Los Angeles Review, established in 2003, is the voice of Los Angeles, and the voice of the nation. With its multitude of cultures, Los Angeles roils at the center of the cauldron of divergent literature emerging from the West Coast. Perhaps from this place something can emerge that speaks to the writer or singer or dancer or wild person in all of us, something disturbing, something alive, something of the possibility of what it could be to be human in the 21st century.

Winner of the 2011 Benjamin Saltman Poetry Award, Brynn Saito's The Palace of Contemplating Departure is an intimate, quietly powerful debut collection, weaving stories of sudden departures, forced removals, and the journeys chosen in between.

The new book by Eloise Klein Healy, A Wild Surmise: New & Selected Poems & Recordings brings together nearly four decades of work immediately recognizable for its uniquely tuned sense of craft and searching, sensuous explorations of love, feminism, freeway traffic, mythology, baseball, and the lesbian tradition in literature.

The Adventures of Ibn Opcit is a two-volume work by John Barr, first president of The Poetry Foundation. Grace, the first volume of this mock epic, is the master song of Ibn Opcit, a Caribbean gardener/poet condemned to die by torture. In a series of jailhouse monologues we hear him descant on justice, on creation, on America, on death and on life after death. In book two, Opcit at Large, the poet pushes back on his oppressors in three adventures. Like Virgil in the Inferno he visits the afterworld of reincarnation in The Afterdammit he struggles to survive as poet laureate to Africa's newest President for Life in Opcit en Afrique he orbits earth as The Last Cosmonaut on the eve of the fall of the Soviet Union. He comes home with the dignity and strength of one who has survived and prevailed.

An intelligent, compassionate, and harrowing debut collection, Kelly Davio's Burn This House gives modern voice to the metaphysical tradition, revealing the ragged edges at the margins of belief.

The Adventures of Ibn Opcit is a two-volume work by John Barr, first president of The Poetry Foundation. Grace, the first volume of this mock epic, is the master song of Ibn Opcit, a Caribbean gardener/poet condemned to die by torture. In a series of jailhouse monologues we hear him descant on justice, on creation, on America, on death and on life after death. In book two, Opcit at Large, the poet pushes back on his oppressors in three adventures. Like Virgil in the Inferno he visits the afterworld of reincarnation in The Afterdammit he struggles to survive as poet laureate to Africa's newest President for Life in Opcit en Afrique he orbits earth as The Last Cosmonaut on the eve of the fall of the Soviet Union. He comes home with the dignity and strength of one who has survived and prevailed.

The Los Angeles Review, established in 2003, is the voice of Los Angeles, and the voice of the nation. With its multitude of cultures, Los Angeles roils at the center of the cauldron of divergent literature emerging from the West Coast. Perhaps from this place something can emerge that speaks to the writer or singer or dancer or wild person in all of us, something disturbing, something alive, something of the possibility of what it could be to be human in the 21st century.

Parnucklian for Chocolate is a dark comedy about what it is to grow up an alien in your own family and your own life.

In 2010, poet Katharine Coles sailed across the Drake Passage to spend a month at a tiny Antarctic science station under the auspices of the National Science Foundation’s Antarctic Artists and Writers Program. The Earth Is Not Flat, the collection of poems written out of her adventure, invokes the vast land- and seascapes as well as the fauna—penguins, seals, whales, and scientists—she encountered along the way. Addressing not only the present reality of human habitation in Antarctica but also a rich history peopled by figures like Shackleton, Scott, and Amundsen, the poems bring Coles’ much-praised intelligence, passion, and humor to bear on subjects ranging from writing a grant proposal for scientists to heavy seas to the addictive potential of joy. Along the way, she continues her passionate meditation on reality and our place in it, using as her vehicles both the natural world and the human-created worlds of art, history, and science.

Jessy Randall's poems are smart, funny, weird, and friendly. She writes about robots, love, friendship, video games, Muppets, motherhood, Pippi Longstocking, and the peculiar seductiveness of old Fisher Price wooden people on Ebay. She's partial to found poems, prose poems, and short poems--bite-sized mouthfuls of surprising lyricism. Sometimes sexy, often hilarious, strange and yet familiar, the poems in Injecting Dreams into Cows will leave you "gasping with delight and deliciousness."

Dr. Regina Moss has built herself a successful career as a psychiatrist in Boston: she enjoys a lucrative private practice, hefty consultation fees, and a reputation that inspires colleagues and patients alike. Why then, is Regina haunted by her past? Why does her own daughter barely speak to her? What's the story with her gruff, softhearted husband Walter--and why can't Regina stop thinking about the lanky new tech on the ward? An Age of Madness peels back the layers of Regina's psyche in a voice that is brash, bitter, and blackly humorous, laying bare her vulnerabilities while drawing the reader unnervingly close to this memorable heroine.

Many Ways to Say It, a collection of lyric poems, is a series of prayers, cries, dispatches, observational records, secret messages, weather reports, daily logs, love poems, trespasses, confessions, letters, and songs. A trained marine biologist, Eva Saulitis uses poetry as a tool to push past the laws of biology--objectivity and detachment--to get as close as she can get to the harsh inner and outer place she calls home. Though chosen, for her, place requires constant re-negotiation and exploration. Living for more than two decades in coastal Alaska is like an arranged marriage, rife with ambivalence and risk, desire and loss. The poems portray the difficult process of this kind of marriage, of "marrying this chunk of earth / the seasons, mud, and crack-up." Close observation of natural phenomena is both the poet's and the biologist's method. Thus these poems are dispatches from inner and outer wilderness: white-outs, mountain tops, swamps, muskegs, ecotones, and woods. The lover, a second character in the poems, is human and animal, flesh and mineral, mind and earth, heart and weather. Ultimately, Many Ways to Say It is an unscientific investigation into the wild animal that is the self, its contradictions, urges, demands, and terrors, and its desire for self-definition. But it is only by studying the wild without--through encounters with, say, a moose, a mountain, a coyote, a pond--that the poet comes to terms with the wild, and untouchable, within.

There is no word for the place between the dying hand and the living hand that holds it, but there is a space between those hands. Spoke & Dark dwells there, in the tensions that inhere between one thing & another: lost & found, future & past, life & afterlife. Using typographical symbols (#, /, and especially &) to delineate these phantom spaces, Spoke & Dark explores the wild fluctuations in the nature of the known, searching for a language for the unknowable.

The Los Angeles Review is a literary journal of divergent literature with a West Coast emphasis. Established in 2003, LAR publishes both the stories of Los Angeles, endlessly varied, and those that grow outside our world of smog and glitter. LAR seeks voices with something wild in them, voices that know what it means to be alive, to be fallible, to be human.

Bart EdelmanÆs latest poetry collection, The GeographerÆs Wife, explores how our sense of environment creates and frames the world we choose to inhabit. The speakers in EdelmanÆs poems perpetually find themselves in conflict with the world around them. The choices they make sometimes free them to discover a life full of promise, sometimes cast them into uncertainty, and sometimes condemn them to regression. Again and again, the landscapes they visit serve as both boundary and horizon. This sense of place—east, west, north, and south—directs the physical and spiritual movements we often take for granted, as we pass through the days and nights that dictate each one of our journeys.

Miracle Day: Mid-Life Songs, Sebastian MatthewsÆ second book of poems, explores the main themes of midlife—sex and death, marriage and parenthood, work and play, friends and foes, travel and staying put. Moving back and forth between couplets and the single-stanza poem, Matthews writes about the world he is immersed in, whether listening in on an impromptu barbershop quartet with his son or driving through urban Philadelphia on a misguided whim. Matthews continues his interest in jazz and musicians but has broadened his palate to include ruminations on everything from the 1948 summer session at Black Mountain College to Jack BennyÆs legendary corn-belt comedy routines.

How did one of AmericaÆs most gifted fabulists come to write a collection of poetry? For thirty years, Ron Carlson has joked about writing one poem a year, and to look for his book of them in 2012. The joke came true: Room Service: Poems, Meditations, Outcries and Remarks is a genre-bending collection of traditional verse, prose poetry, microfiction, and—why not?—a play or two, dancing easily from the lyrical to the surreal to the comical, capturing the long sweep of lifeÆs simple necessities and small triumphs. Brimming with CarlsonÆs signature good humor, these pieces were written over many years in many places, and are unified, as befits a first book of poetry, by hope. Room Service reminds us why poetry is necessary, and will leave you wondering what took him so long.

A HalfMan Dreaming conjures into existence an apocalyptic storyline that takes its narrator, Lupe, from a childhood encounter with the Enola Gay on the edge of the Californian desert, to the war in Vietnam, to prison in Detroit. Filled with confusion, anger, and shame at the things that he has seen and done, Lupe struggles to find his way out of the maze of violence and racism that is Postwar America. With lyrical intensity and pyrotechnic prose, A HalfMan Dreaming weaves together history, archaeology, and mythology in a Melville-ian quest to discover the Leviathan heart of AmericaÆs love affair with death and destruction.

Reality has begun to show its age, have you noticed? Joe has.Calamity Joe is the pen name of the mysterious narrator in a new kind of poetry collection. Spending his days in a lab, talking to mice & microbes, he will soon be the last living member of his family. More and more life seems to hint at its syntax and Joe feels that he can just make out the page he inhabits. Drastic measures are called for, but for what?Poet Brendan Constantine hasnÆt crafted another \u201cnovel in verse,\u201d but a secret life revealed by poetry. Open it anywhere and be rewarded with poems that stand alone; read it from the beginning and discover the deeper context that ties every image together. As with his previous collections, Constantine employs countless approaches to poetry and no single style dominates. Looking through JoeÆs eyes we understand that life has no single story, that love is not a single feeling, and that consciousness may be an act of sheer will.

On a wintry morning in 1974, Hank Preston makes a semen delivery to the New York Hospital Fertility Clinic. Running late, he takes the elevator rather than the stairway earmarked for such deliveries. A woman enters, the recipient of his semen, and a relationship develops that threatens to blow their already rocky lives to smithereens.To add to Hank's problems, his transgender boss at the Strand Bookstore is in love with him. But I'm straight, Hank protests. And I'm a woman, Joey insists.The odd intermingling of these vibrant characters makes for an unforgettable story. Hank needs to come to terms with what happened to him in Vietnam. Karen, the would-be mother, needs to clarify the difference between fantasy and reality. Joey, the sanest of the three, despite or maybe because of her gender mix-up, shares her wisdom and tries, somewhat unsuccessfully, to hold them all on course. Secrets are revealed as a twisting plot erupts in a fiery conclusion.Offspring is a story of longings, thwarted dreams, and the search for truth of family, and our fervent need to belong.

Winner of the Benjamin Saltman Poetry Award, But a Storm is Blowing From Paradise emerges at a time when science is discovering more and more about the mystical particles that make up our universe and our bodies. From tidal forces and prairie burns to ruminations on racial identity while standing at the foot of Mount Rushmore, these poems chart a travelogue through mental and physical landscapes and suggest that place, time, love, and bodies are all shifts in the \u201cundulate cosmos.\u201d Straddling the lyrical and experimental, these poems conjure and connect the cosmological, the carnal, and the personal in a country—and a universe—that is gobbling itself into oblivion. But a Storm is Blowing From Paradise is in love with the universe of language—its forms, its sounds, and even its static.