"Etymologies conceives of language as process, rather than language as fixed history. These poems build imaginative mini-worlds of possible word-use. They create a playful quasi-reference work that flips standard assumptions about word origins-mainly that such origins exist. The text questions the intent of any writer using an etymology to prove a specific meaning. In so doing, Etymologies pays particular attention to relation: of the cultures and conflicts, migrations and hegemonies that create our words, words that are furthered by us, who in speaking push them into the future"--
"The great love of your life is dead. But that doesn't stop him from communicating with you-or luring you to join him in the afterlife. To remain safely in this world, you accept the help of a professional medium who develops his own emotional agenda. The Ghost Trio takes us to the Prague of the past, where a love triangle like no other finds its chilling and unexpected resolution. Inspired by the ghost stories of such practitioners as Henry James and Daphne du Maurier, Clyde Derrick creates three vividly original characters whose passions defy both time and the accepted boundaries between the dead and the living"--
Poems that incorporate multiple voices to embrace fragmentation, discord, and plurality. At a time of simultaneous isolation and interconnection, this book is an inquiry into the edges of the self. Pushing back on capitalist messages of individuality, CHORUS instead seeks the multifaceted self that engages with the radical diversity that characterizes any healthy ecosystem or society. Moving between a remote canyon in New Mexico, the Pacific Northwest, New York City, the virtual world, the past, and the unstable future, the author asks, "Whose afterimage am I?" The sprawling, celebratory, mourning chorus of this book is the sum of many voices; the words of other writers, poets, and artists are interwoven with the author's words. This is a celebration of language's capacity to supersede bodily limits, mortality, and existential loneliness. Daniela Naomi Molnar's chorus encompasses violence, love, empathy, fear, a burning planet, a pandemic, heartbreak, desire, joy, and grief. Rather than seeking resolution, these poems look through the lens of a fragmented self, dwelling in plurality, discord, and harmony. CHORUS is the winner of Omnidawn's 1st /2nd Book Prize, judged by Kazim Ali.
"Ewa Chrusciel's fourth book in English, Yours, Purple Gallinule, playfully explores health and illness as they are culturally constructed. Using research about various bird species, clinical understandings of mental afflictions and their treatment through history, Chrusciel maps various diagnostics onto an array of avian species. Intended as a lyrical satire, the book is a reflection on a society that tends to over-diagnose, misdiagnose, over-medicate. Among the questions these poems ask is: What does it mean to be unique, to accept pain and suffering as a fact of life? On the pages of Yours, Purple Gallinule, we encounter birds, a poet, and a psychiatrist who diagnoses birds with various mental afflictions. The psychiatrist undergoes a series of conversions as she realizes that the point is not to classify thoughtlessly, but to "make music instead"-to dwell in astonishment. Birds evade the anthropomorphization of psychiatrists - and of poets - when psychiatrist and poet become one. The anthropomorphization goes in reverse, and the human being becomes more "other," more avian. Like Noah's dove, it proclaims a new covenant, with a twig in its beak and a message: "We are all mad; some more than others, but no one is spared the affliction. And the madder we are, the more sacred.""--
"Back in print, Carr's powerful poems seek out and face violence and its counterforces. Julie Carr obsessively researches instances of intimate terrorism, looking everywhere from Walt Whitman and Emily Dickinson to lists of phobias and weapon-store catalogs. She searches for what can be learned from the statistics, the statements by and about rapists and killers, the websites of hate groups, and the capacity for cruelty that lies within all of us. 100 Notes on Violence is a diary, a document, and a dream log of the violence that grips America and devastates so many. But Carr also offers a layered and lyric tribute to violence's counterforces: love, commonality, and care. Her unflinching "notes" provoke our minds and burrow into our emotions, leading us to confront our fears and our own complicity"--
"The poems of (no subject) are an investigation of the personal everyday. The title for the book and the poems contained within are derived from the default subject line of a subjectless email. The books' composition was informed by this idea of the quickly written subjectless email, as the author would clear small periods of time to write and record the observations and thoughts around himself at that moment, then send it to himself for future refinement. In this way, the book takes the shape of an impressionistic 21st-century diary, often reflecting on themes of anxiety about the future and the situation of the present. As these moments compound, the line between the present, past, and future is blurred in the speaker's sense of self and memory. Driven by a speaker who is nearly hermetically sealed in their private world, the voice becomes a frame and eventual filter for the accumulations of their immediate reality. Through a reserved staccato diction that swears itself to the syllable, these ostensibly subjectless poems derive their meaning through the tension between narrative and emotional resonances. As such, (no subject) plumbs its depths in search of the big little feelings transmitted by fatherhood, the fusion of time and space, loneliness, resilience, and wonder"--
"A poetry collection in nine sections that each take on an aspect of memory. The poems in t/here it is take multiple forms as each section reflects on variations of experience, engaging with the simultaneity of historic and present time while yearning for a future that is beyond what we can envision. In Section I, the poet grapples with ancestral legacy and connection to the natural world. Section II deals with the way one traverses the urban landscape and with various strategies of survival, and Section III recalls the observations and experiences of youth. Through nine linked poems, Section IV complicates the idea of witness under a capitalistic system bent on exploitation and devaluing the sacred human experience. Section V speaks to the lost opportunity of making profound human connections during the race to acquire more material goods. In Section VI, the poems take on the domestic and institutional places that govern our lives. A single poem forms Section VII, mapping the intersection between jazz and emotion. With Section VIII, Anderson pays homage to jazz greats and reflects on the ways that listening can carry one back to moments of growth and lamentation. The two poems that close out the book in Section IX bring the reader to a place of vulnerability, expressing the desire to be able to discern the multiple avenues of one's journey with awareness. "--
A poem in conversation with literature and written during a durational performance. Written in loose sonata form, Pink Waves is a poem of radiant elegy and quiet protest. Moving through the shifting surfaces of inarticulable loss, and along the edges of darkness and sadness, Pink Waves was completed in the presence of audience members over the course of a three-day durational performance. Sawako Nakayasu accrues lines written in conversation with Waveform by Amber DiPietro and Denise Leto, and micro-translations of syntax in the Black Dada Reader by Adam Pendleton, itself drawn from Ron Silliman's Ketjak. Pink Waves holds an amalgamation of texts, constructing a shimmering haunting of tenderness, hunger, and detritus.
With perfect pitch for contemporary audiences, this new translation offers all the immediacy, hallucinatory surrealism, and wit that secured Arthur Rimbaud's esteemed position. As a major poet renowned for his strangely seductive power and innocence, Rimbaud was a dangerous and exhilarating force whose break with literary forms and conventions is aptly displayed in this volume. Published with the French on facing pages and an insightful afterword, this compilation plunges into the heart of Rimbaud's mysterious, revelatory beauty. This is a lucid and lively translation of a seminal work that remains essential and relevant to this day.
Win These Posters and Other Unrelated Prizes Inside opens with a foreword, an envoi laying out the concerns of the book. The book's rhythmic geography tracks a shadow epic with its "1400 Facts," aspects of feats, or anti-feats, events on the ground, but the hero/anti-hero is "you" & "I" & "we" and the narrative is "splinters of stars.
Written over the course of two decades, The Book of a Thousand Eyes was begun as an homage to Scheherazade
Describes a man late in life who has been around and who's thought about what he has seen and heard.
"The narrator of Anon opens the sluice gates of embittered confession and philosophical reproach to release a deluge of wildly extravagant lyricism, at first submerging its readers in the ecstatic rhythms of its music, then leading their pursuit of the behemoths of the human condition in turning its gaze upon the storm-tossed tropes of the narrative itself. Seidenberg engages his characteristically aphoristic style to manage multiple lines of inquiry at once. The resultant fragments navigate between testament and treatise, storyline and system, in a manner only echoed in the speculative vehemence of Beckett, Lispecter, and Blanchot"--
"Wind moves through this book. Wind opens the poems: to the dying beauty of the natural world; to the weathers inside the psyche and without; to the connections between father and son, husband and wife, the speaker to his mentor, the great poet Jack Gilbert"--
A collection from celebrated poet Martha Ronk considering the relationship between person, body, and place.  The Place One Is explores the intersection of person and place, the ways in which changes in the tangible world alter oneâ¿s vision, bodily posture, vocabulary, and concern forâ¿to take one exampleâ¿the dwindling water supply in California. The bodyâ¿s position, its geometry, and the topography of the surrounding land become less and less recognizable as body and world blend together. Gravel giving way underfoot mirrors the way that words dissolve into mumbles, and the skeleton of a rusty car on the sand appears like oneâ¿s own skeleton. Ronk shows that disintegration here is disintegration there. These poems also wonder at interdependence, considering how lines intersect and continue to connect us to the seaâ¿and to islands, lagoons, greenery, sky, and space.  In the first part of the collection, the poems focus on a rural landscape, and in the second part, they consider the overly bright urban world of Los Angeles. Â
"The typingspawning in IMPASTORAL is not in The Human, not in a human, but it flies through the possible voices of other outside-insides-slug, probe, horse carriage, sewer, potted plant, lab rat, vampire, bot fly, giant cow. Language isn't human or not human, it undoes that very idea, so these beings-slugprobe, pottedhorsesewer, telepathybarcode mammaltexts-aren't on the outside anymore. Letterwords are cells or flummoxing quanta, particulate and mutating, waving about. If you follow science all the way around it passes through a pagebrane. Boundaries get slimed. A synthetic, nonce, and hyperpossible poetry. Your experiences are deformed into the experiences of other beings. We can hatch into a world we're not eating up. We are going to hear many faroffs very near"--
"This bilingual edition of Nicole Brossard's exuberantly lyrical collection, entitled in English Distantly, is a sequence of lush, taut cityscapes. Known for her elliptical and materially grounded poetics, Brossard creates in Distantly an intimate series drawn loosely from urban experience. The poems are linked by their city settings, drawn from a woman's observations, emotions, perceptions, and dreams as she wanders the streets of her world. The cities of the individual poem titles are evocatively conjured rather than realistically described. Taken together, these poems distill postmodern urban life through their sharp flash sketches of cultural and gendered histories of violence and beauty, personal and shared struggles for survival and intimacy. Distantly expresses a redolently postmodern sensibility, at once utopian and real"--
"At once comic and cantankerous, tender and discomfiting, piercing and irreverent, Genghis Chan on Drums is a shape-shifting book of percussive poems dealing with aging, identity, PC culture, and stereotypes about being Chinese via a wide range of surprising forms (pantoums and sonnets) and unlikely subjects, including the 1930s Hollywood actress Carole Lombard, the Latin poet Catullus, the fantastical Renaissance painter Piero di Cosimo's imaginary sister, and a nameless gumshoe. Seemingly without effort, Yau can go from using the rhyme scheme of an Edmund Spenser sonnet written in the 16th century, to riffing on a well-known poem-rant by the English poet Sean Bonney (1969 - 2019), to limiting himself to the words of condolence sent by a former president to the survivors of a school massacre. Yau's poems are conduits through which many different, conflicting, and even unsavory voices strive to be heard"--
"A kind of translation of a thousand-year-old poem, "Earth took of Earth," this book is an attempt to restate in personal, emotional terms a sense of both danger and of consolation from earth itself. Many of these poems arose during a collaboration with the ecologist-ceramicist Mia Mulvey: her work with earth, clay often extruded through digitally guided machinery, continually rhymes with Ramke's attempts to understand damages done, but also to celebrate the facts of earth-as, for instance, that geosmin, the scent of wet soil, is so recognizable even in trace amounts. The title of this book is a play on the phrase "heaven on earth": no, the very best-and it is a lot-to hope for is earth on earth"--
"Amanda Larson's Gut interrogates the agency of a young, female speaker in the wake of trauma and desire. Larson places feminist theory in conversation with personal experience in order to examine the impact of such forces on traditional ideas of logical agency. The book moves through Larson's recovery while questioning the limits of the very term, and of language as a whole. She employs a variety of different forms, including prose, Q&A poems, and a timeline, to do so, that reflect both the speaker's obsession with control, and her growing willingness to let it go. In this way, Larson's measured voice paves a way for how we can continue to live despite what happens to us in the process"--
"Often, Common, Some, And Free is a book about transformation. Moving across varied formal and aesthetic terrain, these poems take on the subject of literal change: constructing and tearing down physical buildings, roaming between cities, and drawing together an image of a world in flux. The speaker is in movement: walking, flying, swimming, taking the train, while also constantly twisting in his sentences, turning into different versions of himself, and braiding his voice with others. These poems are interested in subjects that encompass creation and loss from Robert Moses to the Gardner Museum robbery, but they aim ultimately to resist destruction, to be in the particular, and to hold still their world and their ever-shifting speaker"--
Poems that address cultural pressures placed on women and girls. Â This is a book for those who were raised to be girls and expected to become women, for those who were told they were too girly and not girly enough, and for those who were ogled, talked over, touched, fed, imagined, and indoctrinated in ways they didnâ¿t want. Angela Hume writes directly about the experience of womanhood, addressing the boundaries and pressures imposed from childhood on. She considers the persistent instructions to smile, be quiet, and act happy, all administered with the promise that this forced behavior would make everything better. The poems address rigid social norms and, ultimately, walk through the uncomfortable realizations about the bigger systems at play and call on us to examine our own complicity in them. Â
"Agnes has been drifting away from herself. People look through her, her husband doesn't understand her and lately, she's begun losing the sensations in her body. When a tube of shoplifted lipstick awakens her back to life, an impulse for stealing emerges that leads her to a court-ordered service at a camp for grieving children. Hopeful the time there will help make the stealing stop, when the spirits of the campers' parents realize Agnes can act as a conduit to their children, she has to navigate using her compulsion to either feed herself or help the bereaved. Luminaries is about the things we take and the things that are taken from us. It asks what it means to exist in lives filled with loss and to reach for the things we hope balm us-both in our material lives and the ones we pass through"--
"Boyish engages what once thought impossible: a reconciliation of southern and queer identities, of upbringing, rebellion, and revival. The coming to Jesus moments of looking back, of liberation & reckoning. Each page exterior & interior revolutions. To carve space between. To cut-up the absence. To find oneself carried over graveled creekside into the first mouth's babble. As much subconscious as embodied desire, change holds within the white space and the formal play-language twisting the unspeakable alongside dense sonnets, a thicket of warmth & dissonance that holds a mirror up to puddled overpass & river. The landscapes of city's dystopia meeting the queer pastoral, where conservation often means what must burn down"--
"Written as a conversation engaged over the course of 100 words. It is an exchange of ideas, dialogues, burdens and ideals between someone Brown and someone White. It is an attempt by one to put the weight down and another's willingness to pick it up. It is a private conversation made public. It is an exchange, a negotiation, discoveries. I did not know this about myself. You crossed the street or was it I? We walk and this weight, we are still carrying it together"--
This is a comedy about climate change, in which a girl and a donkey become friends, then decide to marry time. A lyric fable, Life in a Field intersperses Katie Petersonâ¿s slow-moving, cinematic, and sensual writing with three folios of photographs by Young Suh. Introspection, wish, dream, and memory mark this tale, which is set in a location resembling twenty-first-century Californiaâ¿with vistas and orchards threatened by drought and fires. This is also a place of enchantment, a fairy-tale landscape where humans and animals live as equals. As the girl and the donkey grow up, they respond to the difficulties of contemporary civilization, asking a question that meets our existential moment: What do you do with the story you didnâ¿t wish for? A narratorâ¿s voice combines candor with distance, attempting to find a path through our familiar strife, toward a future that feels all but impossible, and into what remains of beauty and pleasure. Life in a Field tries to reverse our accelerating destruction of the natural world, reminding us of âthe cold clarity we need to continue on this earth.â?
"These are writings and drawings from and to a new homeland, a new homeland of Panamâa that can be transmitted through the quantum martyrs beyond life and death, and/or a new homeland of the Tecumseh Republic, where technology grows to be necessary in understanding the ancient as well as then becoming erased and transcended by a now ever present electronic circle. It is a book brought close to the earth in its symbolic springs, to the light filled mystery that began with countering disassociation and by repairing a devastating explosion of interior structures necessary to being a person in the most foundational ways. It is where the screen removes itself by song as we move toward kinship beyond color mark"--
"Train Music chronicles the 2017 four-day railroad trip (New York to California) of poet C. S. Giscombe and book artist Judith Margolis, old friends. Giscombe was returning home to address an all-white audience on white supremacy; expatriate Margolis, usually solitary and itinerant, was visiting the country of her birth, drawing scenery and collaging insomniac night visions. Journeying, conversing, arguing, sharing memories, they document a complex and volatile American landscape, one at once geographical and historical, one holding specific implications for the lives of both. Margolis and Giscombe chart their own passage through all that, through a dangerous and puzzling world that-too often-"passes as normal." Train Music is the insistent and unlikely shape that the two sensibilities achieve"--
"Winner of the Omnidawn Fabulist Fiction Novelette Prize, selected by Meg Ellison. This magical realist tale follows the travails of a burnt-out Queens' teacher who spends his time obsessing over the fact that he has been cheated out of living in his Grandma Rose's Lower East Side apartment, and is thus priced out of his 'More Recent Ancestral Home', Manhattan, that is. Rothman weaves a rich story about real estate and memory. Daniel, our protagonist, is haunted by the remembrances of his childhood experiences in his grandmother's apartment. One day he discovers a hidden relic on Rivingston Street, a tenement reclamation office run by an eccentric centurion named Hannah. When Daniel inquires about the chances of his reclaiming his grandmother's old tenement, Hannah is not impressed. "Things don't work like that, you rude, young schlub!" And so begins Daniel's journey to reclaim his past and to land an affordable space for his family in downtown Manhattan. This is a journey full of twists and turns, ups and downs, and an ending that would make even the most thick-skinned NYC real estate agent shake"--
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