Böcker utgivna av Black Lawrence Press, Inc.

From his first appearance on the page, "we knew he was bound for something unsolvable." But a little thing like futility can't stop our hero from holding up a magnifying glass to a world "so bright it's impossible to understand." In this searching, provocative collection of coming-of-age sonnets, the sad boy detective listens close, collects the evidence, and reimagines the strange landscapes of a life, a body, a boy, a self. Through a questioning, fervent lens, sam sax's SAD BOY / DETECTIVE reminds us how deeply bizarre and at times undecipherable all this existence stuff truly is.

President Franklin D. Roosevelt signed Executive Order 9066 on February 19, 1942, resulting in a cataclysmic series of events affecting all persons of Japanese ancestry then residing on the West Coast of the United States. So calamitous were these actions that a noted scholar asserted that this action constitutes "the defining event in the history of Japanese Americans."What does this have to do with a book of poetry titled A COLD WIND FROM IDAHO? Those Americans familiar with the Pacific Northwest Japanese American World War II experience will understand the imagery wrought by the title as being both evocative and apt. The metaphor of freezing winter winds chilling the body and then entering the soul of those affected conveys fittingly how the Japanese Issei and Japanese American Nisei encountered, braved, and then survived the cold iciness of Idaho's winters while they were huddled in a primitive American barbed wire concentration camp.

Winner of the 2020 Big Moose PrizeSpanning the mid to late 20th century and set in the Elkhorn Valley of southwestern Montana, The Stone Sister is told from three points of view - a father's, a nurse's, and a sister's. Together they tell the unforgettable story of a child's birth, disappearance, and finally discovery in a home for "backward children." Robert Carter, a newly married man just back from World War II, struggles with his and his wife's decision to entrust the care of their disabled child to an institution and "move on" with family life. Louise Gustafson, a Midwestern nurse who starts over with a new life in the West, finds herself caring for a child everyone else has abandoned. And Elizabeth Carter, a young journalist, uncovers the family secret of her lost sister as she struggles with starting a family of her own.The Stone Sister explores the power of family secrets and society's evolving definitions of "normal"-as it pertains to family, medicine, and social structure. The novel sheds light on the beginnings of the disability justice movement as it follows one family's journey to reckon with a painful past. Incredibly, the novel is based on Caroline Patterson's personal story. As an adult, she discovered she had an older sister with Down syndrome who had been written out of her family history. In fact, that sister's name was also Caroline Patterson.

Winner of the Spring 2020 Black River Chapbook Competition. The poem from which BLACK UNDER derives its title opens with a resounding declaration: "I am black and black underneath." These words are an anthem that reverberates throughout Ashanti Anderson's debut short collection. We feel them as we navigate her poems' linguistic risks and shifts and trumpets, as we straddle scales that tip us toward trauma's still-bloody knife in one turn then into cutting wit and shrewd humor in the next. We hear them amplified through Anderson's dynamic voice, which sings of anguish and atrocities and also of discovery and beauty.BLACK UNDER layers outward perception with internal truth to offer an almost-telescopic examination of the redundancies-and incongruences-of marginalization and hypervisibility. Anderson torques the contradictions of oppression, giving her speakers the breathing room to discover their own agency. In these pages, declarations are reclamations, and joy is not an aspiration but a birthright.

"You and I were told to swallow / our hexed howling, refuse the reptilian // and the mammalian, unless it's tame, / you know, cow-eyed, with a roundness eager / for petting." A powerful evocation of the feminist voice, HEX & HOWL both applies and upends textuality and tradition, parsing and refuting prior masculinist treatments of women's bodies. The poems in this collection forge multi-vocalities, some exhibiting pleasure in the parameters of the sonnet, others designing new poetic architectures through the double and multiple voicings of centos and self-portraits."Now we do the refusing; now // we flame in the celluloid dark." HEX & HOWL is collaborative writing at its most innovative, playful, and powerful. Muench and White allow for the creation of a chimeric construction, a third-bodied poem that engages in language-play to explode notions of subjectivity, as the "I" and "you" and "we" shift and shimmer with agency and possibility beyond the page.

"In astonishing lyrics that give us more than intimate negotiations of memory, the poems in WOMEN IN THE WAITING ROOM work an entrancing weave of Hindu mythology, ravishing songs, and the language of crisis hotlines as a means of limning the fate of women's bodies and psychological distress. If O'Hara's Personism figures a poem as a telephone call then Kapur's wondrous lines serve to heal, like all poignant and meaningful human to human exchanges: interventionist language that disrupts easy sanctuaries of meaning yet is consoling in its artfulness. I call this life on the page, one you'll be happy to encounter."-Major Jackson

Poetry. African & African American Studies. California Interest. DIVINE, DIVINE, DIVINE is an exploration of the divine and the deviant. A consideration of the Black tongue as a home. Life and death through the lense of language. This collection is an ode to the experiences that make us whole and an acknowledgment of those things that fracture us.

"Jody Chan writes, 'have you ever found your specific wounds curled up in a song / written by someone else?' SICK is medicine and music. This book unearths a tenderness unknown to me before reading these poems and witnessing their 'humble magic.' Chan's lyric is a landscape I return to find myself. How lucky are we to be living and reading while Jody Chan is writing and teaching us how to be 'warm & unafraid'-what a tremendous, marvelous gift."-Yujane Chen"This striking debut-poems of history, of beauty, of violence, of grief-will surprise you at every turn of phrase and page. Chan's work is innovative, their treatment of the universal human condition meticulously unique. Do not miss this collection."-Erica Dawson"In SICK, Jody Chan examines loss through brilliant and stunning lyric, each poem urgent with gentle ferocity. So much exists here in the absence of what is said, so much feels vestigial-a phantom limb that keeps aching through deftly crafted nuance, simply mesmerizing. The many exigencies of grief appear and reappear in this collection like a 'hungry ghost,' but Chan proclaims/reclaims, 'this is a love story this is a love story this is a love story.'"-Jay Ward

Though Joe Wilkins's new collection of short fiction set under the big Montana sky may have all the trappings of a traditional Western-long shots of sage flats and blue mountains, late nights at the dingy local watering hole, and a hard-working cowboy making time with the boss's daughter-FAR ENOUGH is far from traditional. A series of short prose fragments told from several viewpoints, FAR ENOUGH follows Willie Benson, Wade Newman, and young Jackie Newman as they crisscross the high plains of eastern Montana, each searching for something to hold onto. Wilkins's narratives-splintered, wending, intertwined-sprawl out beneath a huge, dazzling sky filled with "blue lightning run the wrong way, red eruptions and the slow fade to gold, a white ache along the horizon." Poetic, darkly humorous, subversive-FAR ENOUGH is a Western for our time.

"With heartbreaking insight, Sarah McKinstry-Brown tells of Demeter and Persephone as the story of a mother who has lost her daughter to male violence. These plainspoken, elegant poems give voice to tomboys, girls coming into their sexual power, their mothers and grandmothers, newscasters unspooling the latest version of the 'gone girl' narrative, pregnant women, mothers who miscarry, and flowers who give advice. In crystalline verse, McKinstry-Brown shows us girls like 'peonies / hanging their heads under the weight / of their own blossoming,' and women who learn that 'the heart becomes offal / when a mother is told over and over / that her daughter is just another / siren.' THIS BRIGHT DARKNESS is the meditation and the medicine we need as we confront male violence in our current moment."-Lisa L. Moore"Exquisite craft and strikingly tender aesthetics merge brilliantly with the urgency of complex gender politics in Sarah McKinstry-Brown's THIS BRIGHT DARKNESS. While many of the poems in the collection reach back in time and mythology, the book could not be more essential and more poignant than it is right at this moment. McKinstry-Brown writes of a time 'when a mother is told over and over / that her daughter is just another / siren, warning, a story to be taught.' And isn't this time now? And how desperately we need these poems to teach us to know what is at stake."¿-Stacey Waite

Winner of The Big Moose Prize. Raised in a town that prizes poets above doctors and astronauts, the narrator of THE THIRTEENTH MONTH is a constant reader, and it is through books-real and imagined-that he experiences the world, from the libraries of Dar es Salaam to the dead-end streets of Cleveland. While he believes he is being prepared to write himself, he is ultimately called to a different, less romantic task-helping his increasingly demented mother die.Bruno Schulz described a thirteenth month as an unnatural time when "one may be touched by the divine finger of poetry." Hamilton shows that touch to be both divine and troubling. Elegantly structured, THE THIRTEENTH MONTH follows the elusive thread between the books we read, the actions we take and the people we become.

Introduction by Kazim Ali. No two immigrant poets are the same. Even those from the same country don't necessarily answer to the same poetics or, for that matter, speak to the same concerns. How, then, do immigrant poets in America define themselves? How do they see and position themselves within the landscape of American poetry or the poetic traditions of their own country? Who might they consider their influences? Answers to these questions are complex, individual, and varied, as seen with the essays included in this anthology.Contributors: Zubair Ahmed, Kazim Ali, Abayomi Animashaun, Lisa Birman, Ewa Chrusciel, Kwame Dawes, Michael Dumanis, Megan Fernandes, Cristián Flores García, Danielle Legros Georges, Rigoberto González, Maria Victoria A. Grageda-Smith, Andrei Guruianu, Piotr Gwiazda, Fady Joudah, Pauline Kaldas, Ilya Kaminsky, Vandana Khanna, Jee Leong Koh, Vasyl Makhno, Gerardo Pacheco Matus, David McLoghlin, Majid Naficy, Marilène Phipps-Kettlewell, Shabnam Piryaei, Barbara Jane Reyes, José Antonio Rodríguez, Matthew Shenoda, Sun Yung Shin, Anis Shivani, Ocean Vuong, and Sholeh Volpé.

Lenny's out of options. He's lost his arm to his abusive older brothers and he's lost his bearings within his family. But he's determined not to lose hope. He attempts an escape on a stolen skiff, hoping to ride the rivers from his family's farm deep in the western North Carolina mountains all the way to the Atlantic Ocean. A torrential storm sinks his boat and delivers him into the hands of a profanity-slinging priest whose illegal drug operation provides food and wages for the local parish. Snared within a power struggle between a crooked cop and the priest, Lenny once again relies on the thinnest shred of hope in his attempt to escape.Live Caught is a survival adventure which dives deep into the mystifying relationship between hope and choice, and examines the peril of remaining in an untenable situation rather than taking that terrifying first step toward change. Lenny takes that step, and then another and another in his journey back toward his abusers and the unlikely prospect of family reconciliation.

In SAVAGE FLOWER, winner of the 2019 St. Lawrence Book Award, Anna B. Sutton explores female oppression and agency in the Bible Belt South. The intertwined landscapes of Tennessee and North Carolina are the backdrop for Sutton's beautiful, warring marriage of religion, family, the body, sex and reproductive rights, and the inevitable cycle of destruction and rebirth. In the tradition of the confessional poem, Sutton looks to her past in search of redemption, while always keeping an eye on the larger meaning. Timely, affecting, and fearless, there are no easy answers in Sutton's imperfect world. As she says in the poem Center Hill, "Even the most beautiful things are full / of our blood."