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¿`I am going to keep death from entering this poem,¿ Kurt Brown writes in No Other Paradise. These masterful poems are taut with the power of the unspoken. Their urgency is visceral. If the problem of our century is Hegel¿s dilemma of cognition and the will¿the more we know, the less we can act¿Brown is searching for a knowledge so immediate, so free of rhetoric, that our scary responsibilities will open the world up rather than paralyzing us. With a clear eye, zapping wit, and a mind haunted by the unfathomable future, Brown is creating fascinating poetry whose horizons lie far beyond the self. No Other Paradise leaves us in that strangest, richest moment, the human present.¿¿D. Nurkse¿At the climax of Kurt Brown¿s evocative meditations on everything from nature and news to baloney, there is his astonishing title poem. A walk through a teeming cityscape inhabited by the memorable likes of Miss Donna, ¿Mystical Astrologist,¿ this Whitmanesque celebration of the turbulent here-and-now powerfully conveys Brown¿s vision of the fleeting, sensory moment, a view summed up in his echoing line: don¿t let go.¿¿Kimiko Hahn

Poems that prompt and deepen our attention to the world.

Tess Taylor's much-anticipated lyric debut is at once a sensuous reckoning with an ambiguous family history and a haunting meditation on national legacy. The Forage House explores how we make stories, and how stories--even painful ones--make us.

A powerful and gripping allegory of an ordinary man trying to survive in the oppressive Chinese communist regime of the 1970s.

. . . Superman andDracula and King Kongand dozens of others . . .

Every day we are forced to integrate the world's news into our personal lives; we all have to decide what parts of the flood of news resonate with us and what we need to turn away from, out of necessity or sensitivity. Obliterations—a collection of erasure poems that use The New York Times as their source texts—springs from that seemingly immediate process of personalizing news information. By cutting, synthesizing and arranging existing news items into new poems, the erasure process creates a link between the authors' poetic sensibilities and the supposedly more "objective" view of the newsmakers. Each author used the same articles but wrote separate erasures without seeing the other's versions, highlighting the wonderful similarities and differences that arise when two works—or any two people with individual tastes and lenses—share the same stories.

From the author of the international bestseller Einstein's Dreams comes an illustrated verse-narrative-a profound scientific, philosophical, and spiritual adventure.

In this entertaining and inspiring memoir, renowned educator Paul Cummins candidly shares his journey from privileged kid and ivory-tower scholar to hands-on progressive educator, working to achieve social justice through education for all youth: from children of celebrities to foster and incarcerated youth and those facing sometimes unimaginable circumstantial hurdles to education and accomplishment—proving time and again that all children can succeed given appropriate support.

In Trout's Lie, Percival Everett explores the semantic relationship between sense and so-called nonsense-and questions whether either is actually possible.

From a writer whom master poet Seamus Heaney described as one "who risks much both stylistically and emotionally" comes 52 Men. Taut, spare and highly compressed autobiographical fiction for the mobile age, it is immensely funny and sexually charged.In contemporary literary miniatures from a few lines to a few pages, Manhattan-raised Elise McKnight describes the men in her life who gradually reveal her: high-profile cultural leaders, writers and celebrities, as well as the down-to-earth waiter, student and police officer. Fifty-two strange, romantic and sexual interludes and relationships spark to life and disappear in the wind, leaving the reader always asking: What is Elise's power? What does she want and will she ever get it? Does she have a secret and if so, what is it?With surprising, sometimes shocking and moving cameos by figures from tabloids and the news: Jay Carney, Jonathan Franzen, Lou Reed, Michael Stipe; and encounters with artists, financiers, and a boxer who reads Neruda at the Turkish baths.

By evoking the Old Testament book referenced in the title of the collection, The Chronicles recounts distinctive aspects of a Mexican American's presence in California. Fairy tales, bible stories, and Greek myths are reinvented as the genealogy of a poet obsessed by memory and the transformations of dislocation. The Frog Prince longs to be a frog again, Sleeping Beauty doesn't know who she is, Medusa is a misunderstood femme-fatale, Bluebeard is a desired eccentric, and Marilyn Monroe wins the first annual Miss Artichoke beauty contest. Ramón García brings to life landscapes populated by misfits who find-like their mythical counterparts-a sense of belonging between the marvelous and the ordinary, memory and reality. In coming to terms with the intricacies of immigration and migration, García defamiliarizes well-known tales, rewriting enchanting and disturbing versions of stories we thought we knew.

A story of love blooming in even the most hostile environments, When Rain Hurts tells of one mother's quest to find a path of healing and forgiveness for her adopted son, a boy made feral by prenatal alcohol abuse and the stark rigors of Russian orphanage life.

The second collection by Nicelle Davis, Becoming Judas is an "elemental bible-diary-manifesto," a hypertext that weaves together Mormonism, Mamaism, Manson, Lennon, the Kabbalah, and the lost Gospel of Judas into an ecstatic, searing meditation on raw religion.

Tremolo can be contained in the line from Theodore Roethke's villanelle, "The Waking" "This shaking keeps me steady. I should know." In music, tremolo describes notes which are repeated in time, as opposed to trill, notes which stand outside the composition's basic beat. In the same way, our lives often cannot "claim their own space," but are forced to fit circumstance. The effect is tremulous: we are full of trembling, easily shaken. The book journeys through terrain where the speaker must accept what she's given: a mother's death, a daughter's leaving home, a father's dementia, a life compromised by war, prejudice, and violence, the myriad fearful situations of each day. The poems search for safety, ultimately understanding that the steadiness the speaker knows comes from taking the path in front of her, fully embracing her trembling. The wisdom of these poems is garnered from journeys the speaker fears, but must undertake. As Roethke writes, "I learn by going where I have to go."

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.

These poems question the sounds that are meaning. They interrogate where meaning resides and whether they are in any way, rigidly or loosely, wed to the words that carry it. There is a nod toward logic and at once an acceptance of its limits. These poems are landscapes, the meaning altering with the movement of clouds, with the changing light. Irony sometimes is the way we can be earnest.

This first appearance of PascoliÆs poems in English translation provides an introduction to his work for the English-speaking reader. The first section of the book includes some of PascoliÆs brief lyric poems, many of them displaying his innovative use of image narrative. We see scenes of country life in his village near Barga, Italy, in the Apuan Alps, at the end of the 19th century. We see the aurora borealis, chickens, donkeys, women hanging laundry, the new railway and men crushing wheat. The second part of the book consists of three somewhat formal narrative poems set in classical Rome and Greece. The book ends with a long narrative sequence, an exciting and poignant re-imagining of OdysseusÆ famous tale told from the perspective of an old man. The aging hero falls asleep by the fire with Penelope and dreams a final voyage, in which he reassembles his old crew and visits the scenes of his earlier adventures: Circe, the Sirens, the Cyclops, Lotus Eaters and Calypso.

"I could call Keith A. Mason¿s writings an ecstatic torrent of memory and myth, a dangerous funk, dank and chuckling, in a kitchen heavy with cheeseburgers, catfish, tandoori chicken and tofu. I could say the man¿s concerns are religious, God lashing his tongue like it¿s the alpha dog pulling us from Americäs present winter toward a place hot enough for nakedness, hot enough that the blood comes quicker and in Technicolor¿. Then I got all the way down to ¿Book IV¿ (as you should) and realized that New Wine and Black Men¿s Feet is what happens when L.A. becomes writing. The fitful traffic of sentences. Tense multiculturalism blurring in rearviews. Our windshields turning the world a silver screen so you can confuse 300 for history, flesh for geography, a poet for a prophet (and vice versa). It happens here, here, here."¿Douglas Kearney

The DevilÆs Punchbowl: A Cultural & Geographical Map of California Today is an anthology edited by Red Hen PressÆs Managing Editor, Kate Gale, and Los Angeles Times reporter and editor Veronique de Turenne. Essays were commissioned from writers living in California, who were asked to reflect on an aspect of the stateÆs geography, natural or man-made: Alcatraz Island and its prison; Manzanar and Mt. Whitney; Big Sur and Joshua Tree; Los AngelesÆ oil derricks and Mountain ViewÆs Google headquarters; the farms of the Central Valley and the redwoods of the Northern Coastland. Does Alcatraz, from its important role in Native American activist history to todayÆs defunct prison, retain meaning beyond a tourist attraction? How is the expanding border fence between Southern California and Mexico affecting, economically and psychologically, the individuals who live near it? CaliforniaÆs outsized cultural and economic impact on both our country and the rest of the world necessitate a continual taking stock, to prevent losing ourselves in the stateÆs constant transformations. The DevilÆs Punchbowl captures a pivotal time in our countryÆs history, as some of the stateÆs most recognized, complex, and accomplished writers describe their relationship with CaliforniaÆs ever-changing geographic, economic, and psychic landscape.

In his twenties, an American manual laborer and poet found himself living with his beautiful wife in a village in southern Greece. Their first encounter with that country would prove an unrecoverable dream of intimate magic, but through decades of steadfast affection, poet David Mason grew to a deeper understanding of what it means to be a citizen of one s own country and a citizen of the world. "News from the Village" is a lyrical memoir of Aegean friends, including such figures as Orhan Pamuk, Bruce Chatwin, Katerina Anghelaki-Rooke, Yiorgos Chouliaras, and Patrick Leigh Fermor, each of whom comes fully alive, along with a brilliant cast of lesser-known characters. Fearing he has lost Greece and everything it has meant in his life, Mason goes back again and again to the country he knew as a young man. He encounters Turkey and Greece together in the shadow of 9-11, follows the lives of his friends, whose trials sometimes surpass his own, and brings them all together in the circle of this generous narrative. Ultimately, Mason s memoir is about what we can hold and what slips away, what sustains us all through our griefs and disappointments. This book is richly evocative and rare."

"Cut Away" is a novel that expertly entwines the lives of three characters struggling to understand the meaning of identity and its seeming mutability. Orbiting around the mystery of a missing teenager, a trio of narrators each tells her story in turn. Alexandra is a transgendered woman who has refused surgery and abandoned Los Angeles for a trailer at the desolate Salton Sea. Asa, the mother of the runaway, wants her grief-ridden face completely transformed. Eleanor, a plastic surgeon, is fascinated with surfaces and wonders whether visual harmony has the power to change what lies beneath. In a culture obsessed with transforming the body, do the incarnate fictions we create have the power to hide or reveal the truth of who we really are? This is a question that Catherine Kirkwood approaches in a stunning debut novel of desire, self-loathing, and the revisionary madness of our modern world.

Using Hollywood screenplay structure to illustrate a life in three acts, eighteen scenes, each with two poems as mirrors to action, filmmaker/poet Lawrence Bridges sequences through tragicomic plot twists and subplots to create a character-driven, novel-like book of lyric poems. An unnamed protagonist is torn from a lover, torn from himself, in perpetual transition while starting a new family, surrounded by a lively array of colleagues and friends as his career implodes, asserting his autonomy only to become part of life's "conspiracies." Strangers shift around him in a murky world beyond his control, a world with signs of indeterminacy and happenstance: Restaurant patrons smile innocently while thieves quietly rob, a death pact is used to escape a lover, disguised signals from space aliens announce that our enemies are now their allies. How do you tie up loose ends when characters we like are actually the bad guys? Bridges prods us to answer the main question Can a man love as his world spells farewell? A unique, delightful read an invitation to explore something new in what may be a new genre fusing some of the elements of screenplay with poetry. Today is already yesterday to tomorrow, in Flip Days."