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An Exodus of Sparks explores how violence reshapes family, geography, and faith. Predominantly set in the high desert, these poems explore the micro-losses of a father and brother (to downwinder-related cancer and substance abuse) against the macro-losses of a geography to nuclear testing and a tradition of faith to the ravages of grief. Liberally appropriating Judaic symbolism and wedding it to an inherited Mormon vocabulary and iconography, the poet/speaker wrests her power from her culture's sacred texts to revise her position in sight of patriarchal systems. This collection is for anyone exploring how loss reshapes identity. The book is structured around a crown of sonnets in which the speaker assumes the story of Moses and resituates it in the American Southwest. The book itself is an elegy composed of several smaller elegies; a fallible history; and most of all, a love letter to the family, culture, and geography that shaped the poet and her work.

The Winter Dance Party lays out, not someone's entire life, but that person's life as a poet. This enthralling, career-spanning book by the National Book Award finalist David Kirby is made up mainly of new poems along with a generous number of older ones alternating with one another in nine sections that proceed, not chronologically, but more like chapters in a surreal memoir, with long poems followed by short poems, exploratory formats next to more traditional ones, straightforward poems cheek by jowl with ones that are more allusive.

A wide-ranging collection from a rising poet that showcases her sharp, contemporary voiceIn Stem, Stella Wong intersperses lyric poems on a variety of subjects with dramatic monologues that imagine the perspectives of specific female composers, musicians, and visual artists, including Johanna Beyer, Mira Calix, Clara Rockmore, Maryanne Amacher, and Delia Derbyshire. In such lines as “let me tell you how I make myself appear / more likeable,” “as I grow older I like looking at chaos,” and “I want to propose a hike / and also propose mostly,” Wong's style is confident and idiomatic, and by turns contemplative and carefree. Whether writing about family, intimate relationships, language, or women's experience, Wong creates a world alive with observation and provocation, capturing the essence and the problems of life with others.

Pittsburghese, Robert Gibb's latest book of poems, is a work of poignant remembrance, filled with revelations found in the everyday “debris of paradise.” The collection is anchored by personal and public histories, the city's “consensus things” and “standard archaeologies,” as well as by music—jazz, blues, R&B and gospel—“sweet rebuttal” to the world's “cold hymns.” Throughout, motifs function like the thorns on the jaggers—Pittsburghese for brambles—whose points engage the reader “one by one.” Other poems elegize the great buildings and working stiffs of the city's industrial past, celebrating its artifacts and artworks, the “necessary mystery” of its trees and wild creatures. Particulars of a world in which dialect is the alembic, the means of expression and the shapes it takes on as well—habitation and name.

Nicholas Gulig's third collection of poetry, The Other Altar, unearths a landscape where the experience of loss is both local and global, personal and political, here and far away. The speaker of these poems wanders in a world illumined at every turn by ghosts whose shape and form he hopes to language in a litany of books, one inside the other. Haunting these pages are the specter of a dead father and the racial violence of a specifically American time and place. Against this backdrop of abiding heartache, Gulig turns to those he loves and to whom he feels indebted—his wife and children, his friends, and to the ghosts of other writers, his literary ancestors—trusting that a language rooted beyond the borders of our collective isolation, a poetry formed upon the altar of other people, might guide the self in the direction of a reenchanted, less solitary experience of creation. The Other Altar is a book that struggles on every page to remind the reader that grief and grace are intertwined, that liberation is a path we walk together, hand in hand and heart to heart, a place we speak into existence when the distance between word and world dissolves.

Jerome Rothenberg's final anthology—an experiment in omnipoetics with Javier Taboada—reaches into the deepest origins of the Americas, north and south, to redefine America and its poetries The Serpent and the Fire breaks out of deeply entrenched models that limit “American” literature to work written in English within the present boundaries of the United States. Editors Jerome Rothenberg and Javier Taboada gather vital pieces from all parts of the Western Hemisphere and the breadth of European and Indigenous languages within: a unique range of cultures and languages going back several millennia, an experiment in what the editors call an American “omnipoetics.” The Serpent and the Fire is divided into four chronological sections—from early pre-Columbian times to the immediately contemporary—and five thematic sections that move freely across languages and shifting geographical boundaries to underscore the complexities, conflicts, contradictions, and continuities of the poetry of the Americas. The book also boasts contextualizing commentaries to connect the poets and poems in dialogue across time and space.

'Passer l'été'nous précipite au coeur d'un été caniculaire, alors que la sécheresse et les feux de forêts font rage. Dans le jardin d'une maison familiale, on subit, dans l'impuissance et le repli, la brûlure de cette chaleur écrasante. Page après page, ce sont les mutations profondes et inquiétantes de notre environnement qui apparaissent.De tout être que l'on voitarbreruisseauroiteleton se demandes'il passera l'été.À PROPOS DE L'AUTRICEIrène Gayraud est née à Sète en 1984. Elle est écrivaine, poétesse, traductrice et maîtresse de conférences en littérature comparée à Sorbonne Université. Elle est l'autrice d'un roman,'Le Livre des incompris'(Éditions Maurice Nadeau, 2019), et de quatre livres de poésie :'À distance de souffle, l'air'(Éditions du Petit Pois, 2015),'Voltes'(Al Manar, 2016),'Point d'eau'(Le Petit Véhicule, 2017) et Téphra (Al Manar, 2019).

Álvaro Mutis's fantastical, gripping, unnerving tales of the exploits and adventures of Maqroll, the Gaviero, or watchman, an inveterate wanderer both on land and sea, are among the most beloved works of twentieth-century Latin American fiction. Like the stories of Borges, like the novels of Mutis's great friend García Márquez, they conjure a strange world of their own which also holds up a mirror, disquieting and revelatory, to the everyday world we imagine we know. If Maqroll eventually found his way into prose, he began his career in poetry, and it was as a poet that Mutis first made his name as a writer. This selection of Mutis's haunting verse, with its evocations, now lush, now stark, of the landscapes of South America, with its prayers to an unknown god, is the first to be published in English. Rendered by Chris Andrews, Edith Grossman, and Alastair Reid, masters of the art of translation, these resonant poems offer a dazzling new entry into the imagination of one of the most original and memorable writers of modern times.

2022 Betsy Joiner Flanagan Poetry Prize winner Rain, Wind, Thunder, Fire, Daughter is a story about leaving religion and coming of age in a world of accelerating climate apocalypses and environmental loss. In her debut collection of poems, H. G. Dierdorff interweaves an investigation of wildfires in Eastern Washington with a personal account of growing up in Christian fundamentalism, calling our attention to the violent histories undergirding both. “I want you to touch the fire / sparking from my lips” the opening sonnet commands, daring the reader to abandon the safety of analytical distance and draw near to the moment of ignition itself. The voice that emerges is incessant, ecstatic, explosive. Fire erupts from every page, multiplying into rage, desire, judgement, responsibility, and renewal. A love song to the forests of the Pacific Northwest, a dramatic portrait of a daughter struggling to find her place in her family, and a philosophical exploration of the limits of language and belief, this collection demands the necessity of both pleasure and grief as responses to a world on fire.

In Two Signatures, Sara Ellen Fowler initiates her readers into a synesthetic contract of close attention and deep feeling. From the wood floor of an art museum buckling with Lake Michigan moisture, to the mud-packed hooves of the horse of childhood, to an art student's spit on a pane of mirrored glass, the poems'images string together a necklace of exquisite longing. Pleasures and complexities of sensory experience lay the ground for a world where risk is rewarded and candor is sensual. The poet explores registers of desire and power, drawing upon her training as a visual artist to make a studio of language. Temperature and texture gain grammar as the poems reach toward awe via multivalent psychology, sex, and sculptural interventions. These poems invite readers to explore the vulnerability and insistence that mark one's devotion to any creative practice.

Intertwining a lyrical voice with historical texts, poet Denise Low brings fresh urgency to the Gnadenhutten Massacre. In 1782, a renegade Pennsylvania militia killed ninety-six pacificist Christian Delawares (Lenapes) in Ohio. Those who escaped, including Indigenous eyewitnesses, relayed their accounts of the atrocity. Like Layli Longsoldier's Whereas and Simon Ortiz's from Sand Creek, Low delves into a critical incident of Indigenous peoples'experiences. Readers will explore with the poet how trauma persists through hundreds of years, and how these peoples have survived and flourished in the subsequent generations. In a personal poetic treatment of documents, oral tradition, and images, the author embodies the contradictions she unravels. From a haunting first-person perspective, Low's formally inventive archival poetry combines prose and lyric, interweaving verse with historical voices in a dialogue with the source material. Each poem builds into a larger narrative on American genocide, the ways in which human loss corresponds to ecological destruction, and how intimate knowledge of the past can enact healing. Ultimately, these poems not only reconstruct an important historical event, but they also put pressure on the gaps, silences, and violence of the archive. Low asks readers to question not only what is remembered, but how history is remembered—and who is forgotten from it. Reflecting on the injustice of the massacre, the Shawnee leader Tecumseh lamented that though “the Americans murdered all the men, women, and children, even as they prayed to Jesus... no American ever was punished, not one.” These poems challenge this attempted erasure.

A remarkable book of poems that mixes humor about the absurdities of office life with moments of Zen-like wisdomSeeking to find a song of the self that can survive or even thrive amid the mundane routines of work, Ariel Yelen's lyrics include wry reflections on the absurdities and abjection of being a poet who is also an office worker and commuter in New York. In the poems'dialogues between labor and autonomy, the beeping of a microwave in the staff lounge becomes an opportunity for song, the poet writes from a cubicle as it is being sawed in half, and the speaker of the title poem decides “to quit everything except work,” sacrificing her life and loved ones to bury herself in her four jobs, striving at any cost to find relief from the attempt to both have a life and be a good worker—“No one was happy to see me, and so / at last I could work. No one said it's okay. It wasn't / okay, thus my work flourished.” Despite such discontents, I Was Working finds humor, play, and even joy in its original and compelling search for the possibility of self-liberation.

Moving through the realms of digital technologies, these poems cut to the core of our physical human experiences amid a virtually mediated world. Diving through illusions and phantoms of virtual realms and into the human desire for boundless possibility, Infinity Pool charts the ways technologies have become embedded in our minds, bodies, and lives. Immersed in a world of data streams, neural nets, spider algorithms, and electronic terminals, Jonathan Thirkield's poems plumb the dissonances and shrinking distances between ourselves and digital technologies, imagining what becomes of the fragile machinery of the human body amid a rapidly transforming world. Thirkield turns to language as a mediator and explores infinity as a mathematical concept, a multiverse conceit, and a driver of the computational imagination. Traveling across the full spectrum of digital experience—from satellites crossing the edges of our solar system to microscopic bytes that operate beneath our perception—this collection is a testament to the future we imagine ourselves to be living through and to what happens when our escapist desires give way to the realities of birth, loss, parenthood, and sickness. Through lyrical, narrative, and formal mutations, these poems cut through a decade of exponential technological growth, landing in the reality of our corporeal experiences: the isolation of chronic illness, the daunting journeys of children growing up today, and the hope that we can remain connected to each other no matter how tenuous the ties.

A debut collection that draws on the poet's Iranian heritage to process life-altering loss and grief. Darius Atefat-Peckham's debut poetry collection follows a boy's coming of age in the aftermath of a car accident that took the lives of both his mother and brother. Through these poems, Atefat-Peckham constructs a language for grief that is porous and revelatory, spoken assuredly across the imagination, bridging time and space, and creating a reciprocal haunting between the living and the dead. Inspired by the Persian epic The Book of Kings, the Sufi mystic poetry of Rumi, and his mother's poetry, these poems form a path of connection between the author and his Iranian heritage. Book of Kin interrogates what it means to exist between cultures, to be a survivor of tragedy, to practice love and joy toward one's beloveds, and to hope for greater connection through poems that wade through time and memory “like so many fish spreading swimming in the green-blue.” Book of Kin won the 2023 Autumn House Poetry Prize.

The poems in Dan Leach's debut collection present lyrical portraits of dying (if not already dead) suburban neighborhoods in South Carolina. Stalled-out construction sites, abandoned shopping malls, and builder grade houses that seem haunted before they're even sold—these are the doomed spaces that populate Leach's work. Stray Latitudes investigates the spiritual and geographical crises of the New South, pitting the individual need for identity against the recent swell of nationalism and the ongoing creep of capitalism. Like the vagrant creature for which the book is named, these are poems that scratch and claw in their search for a place to call home. The TRP Southern Poetry Breakthrough Series: South Carolina

In his third poetry collection from Red Hen Press, Kim Stafford gathers poems that sing with empathy, humor, witness, and story. Poems in this book have been set to music, quoted in the New York Times, posted online in the Academy of American Poets Poem-a-Day series, gathered in a chapbook sold to benefit Ukrainian refugees, posted online in response to Supreme Court decisions, composed for a painter's gallery opening, and in other ways engaged a world at war with itself, testifying for the human project hungry for kinship, exiled from bounty, and otherwise thirsting for the oxygen of healing song.

Deer Black Out is a(n obsessional re) mediation of violence and trauma through the trans/coalescence of identities surfacing and resurfacing within a manuscript of serialized poetry, influenced by HD, Zukofsky, and Ronald Johnson. It's sort of like a body, the movement of which you can only recognize emerging within a field of static. Just the outlines. A deer! In ramifying lines, this poetry creates a self-reciprocating dialogue with the very act of self-replication. The language exists as the prosthetic support that co-creates and conditions the Baerself's emergence into the real.

In her second collection, My Infinity, Didi Jackson continues her exploration of the paradoxical meaning of a world where joy and sorrow simultaneously coexist. These poems investigate both sacred and natural spaces. Her poems move grief and emotional suffering to language as a site of recovery and renewal. Much of this collection is ordered around the work of the Swedish visual artist Hilma af Klint. As the first artist to arguably use abstraction, her radical work brims with enigmatic botanical images painted to grasp the seemingly boundless and hermetic realm of the dead. Similarly, Jackson's poems explore plant life and natural species in the Green Mountains of Vermont, where perceived thresholds blur in acts of spiritual reimagining. This is a book that questions all that is endless, all that has been thought as limiting, and all that remains unknown.

WINNER OF THE 2021 WORDS WITHOUT BORDERS—ACADEMY OF AMERICAN POETS POEMS IN TRANSLATION CONTEST No Gods Live Here, the first book-length collection by a woman from São Tomé to appear in English, is grounded in the lush islands'history of slavery, colonialism, and independence. A career-spanning collection from giant of Santomean poetry Conceição Lima, No Gods Live Here catalogues and memorializes the cruelties and triumphs of the country's past alongside the poet's own childhood poems set against the tiny island nation's distinctive flora and geography. Through vivid imagery, Lima evokes São Tomé and Príncipe, from popular Santomean music to imagery of fishermen on the beach, while remaining ever aware of the subjective meeting of memory, time, and place. Through poetry, Lima unites past and present to resurrect hope in human creation and the possibility of metamorphosis.

The first collection of Italian poet Jolanda Insana's work to be published in English, featuring transgressive poems that evidence the power of language. Jolanda Insana's Slashing Sounds uses invectives, fragments, epigrams, and epigraphs to construct poems that pulse with the texture of an idiosyncratic Sicilian dialect. The poems in this collection are ferocious, irreverent, strange, snarky, and otherworldly. Insana's commitment to contentiousness, her brutal and skeptical eye, and her preoccupation with language make Insana's poetry particularly arresting. For Insana, there is no subject more worthy of our interest than language's misfires and contradictory impulses—language being the ultimate arrow, forging a direction in the world and forcing a turn toward whatever reality appears in front of you. The first book-length collection of Insana's poetry published in English, Slashing Sounds is a powerful offering that addresses a lack of female Italian voices in Anglophone poetry publishing.

Salms navigates the ancient, vexed lyric landscape of the biblical psalm, where gratitude is arrived at through complaint and yearning is smuggled in alongside tribute. Formally restless and diverse, Aaron McCollough's style moves from flinty Anglo-Norman terseness through folktale to long-lined, journal-like confessional. The poems'sounds and forms bind to the divine histories of the Western lyric tradition at points of fragility and potential disintegration.

Jessica Laser has given her generation a voice and a name in this masterful, funny, and heartbreaking collection, The Goner School. Members of this school, despairing and hopeful, count themselves among the self-aware, trauma-informed inheritors of a warming, warring planet. Childhood, the gym, plant medicine ceremonies, PhD programs, Jews, evangelicals, everyone you've slept with, Lake Michigan, the Bay Area, William James, and Taylor Swift may seem incongruous, but they all take place in one world from which, try as we might, there is no escape.

In an age when many find themselves disconnected from the natural world, celebrated poet Todd Davis offers the possibilities of reconnection, of listening to the earth's labored breathing, to the thoughts of other-than-human animals and the languages trees speak. In thirty new poems, and with ample selections from his previous seven books, Davis's roots run deep in Rust-Belt Appalachia, attending to the harmed but healing landscape, the people whose lives are too often neglected, and the looming threat of climate collapse and extinction. Orion Magazine likens Davis's work to Wendell Berry and Mary Oliver, as he continues to demonstrate what one reviewer describes as his knowledge of “Latin names, common names, habitats and habits... steeped in the exactness of the earth and the science that unfolds in wildness.” Known for both narrative and lyrical impulses, Davis asks readers to acknowledge their kinship with all living beings, which demands some grieving for past sins but also suggests a way toward restoration. With a Foreword by David James Duncan.

The Safety of Small Things meditates on mortality from a revealing perspective. Images of stark examination rooms, the ravages of chemotherapy, biopsies, and gel-soaked towels entwine with remembrance to reveal grace and even beauty where they are least expected. Jane Hicks captures contemporary Appalachia in all of its complexities: the world she presents constantly demonstrates how the past and the present (and even the future) mingle unexpectedly. The poems in this powerful collection juxtapose the splendor and revelation of nature and science, the circle of life, how family and memory give honor to those we've lost, and how they can all fit together. This lyrical and contemplative yet provocative collection sings a song of lucidity, redemption, and celebration.

2022 Test Site Poetry Prize winner In poems both personal and historical, The Dove of the Morning News explores conceptions of collectivity, inflected by each psyche, as a force of both connection and division. In its look at tribalism and systemic cruelty as rooted in shame, dread, and insecurity, the book seeks a better understanding of how power needs, spurred by communities of hatred, weaponize the brain's tendencies to think in animated figures, caricatures, erasures, or, as in the book's mediation on vellum, texts written across the bodies of others. As a lens into contemporary life, the title sequence interrogates the vision of Pierre Teilhard de Chardin, whose sense of our increasingly interwoven cultural conversation figures now as a premonition of the internet. If his hope for the noosphere as a fulfillment of divine promise feels problematic, it nonetheless sees our globe as an organism whose long-term survival depends on the capacity of each to forge friendship across difference, to take the health and integration of the individual as emblematic of the whole.

New translations of poems by prominent Peruvian poet Carlos Germán Belli. This selection of poems by internationally renowned Peruvian poet Carlos Germán Belli tempers a dark, ironic vision of worldly injustice with the “red midnight sun” of hope. Belli's contemplative verses express faith in language, in bodily joy, and in artistic form. These thirty-five poems explore public and domestic spaces of confinement and freedom, from paralysis to the ease of a bird in its “azure cloister.” Translations by Karl Maurer retain Belli's original meter, follow his complex syntax, and meet the challenges of his poetic language, which ranges from colloquial Peruvian slang to the ironic use of seventeenth-century Spanish. This bilingual edition also includes notes and reflections on Belli and on the art of translation. Beyond introducing American readers to a major presence in world poetry, The Azure Cloister offers a fresh approach to the translation of contemporary verse in Spanish.

Versão e-book do novo livro de Elisa Marques dialoga com'Até minha terapeuta sente falta de você', publicado anteriormente pela mesma autora. Poemas dedicados ao registro da paixão quando se confunde com o amor; se afirma amor (e raiva também); emula lucidez cristalina; e ameaça definhar corpo e mente, enquanto a ferida estiver sendo diariamente cultivada pelo ego. Exercício poético de autoficção.

Winner, 2024 Etel Adnan Poetry Prize At its core, Rawand Mustafa's Umbilical Discord is an impossible attempt. Ambitious in scope, it strives to trace the billion-branched reach of the Palestinian context within a fixed yet flowing form—columnar, helical, intertwining, tense, intense. Incorporating testimonies by elder Palestinian women who survived the Nakba, or Palestinian Catastrophe of 1948, Mustafa re-presents the ongoing shockwaves from this historical upheaval by interlacing witnesses'stories with related recollections from her own family history. The overlapping accounts from Palestinian women that Mustafa has painstakingly translated or gathered from family members recall moments of supreme perseverance in the face of unimaginable violence, separation, and loss, while weaving together past and present, collective and individual, Arabic and English, memory and imagination, homeland and host country. As Trish Salah observes in the foreword for Umbilical Discord, “these are poems of yearning and of being, both in spite of and fractured by an impossible history. [...] Mustafa offers resistant traces of the geographies and names dis/re-membered in [...] efforts to erase the material architecture and cultural memory of Arab life in Palestine. What must be traversed in order to come to tell a history? As Mustafa writes in ‘dis cord,'her opening poem, [...] ‘I attempt / my story / on a lost / foundation.'”

Named one of New York Public Library's Best Books, 2023 Winner, 2023 Miller Williams Poetry Prize To Be Named Something Else is a high-spirited celebration of Black matriarchy and lineage—both familial and literary. Centering the coming-of-age of Black femmes in Harlem, Shaina Phenix's debut collection, in the words of series judge Patricia Smith: “enlivens the everyday—the everyday miraculous, the everyday hallelujah, the numbing everyday love, the everyday risk of just being Black and living. There is absolutely nowhere these poems aren't—we're dancing and sweating through our clothes, terminating a pregnancy in a chilled room of white and silver, finally gettin'those brows threaded and nails did, practicing gettin'the Holy Ghost, sending folks to their rest, having babies, listening carefully to the lessons of elders, and sometimes even talking back.... To Be Named Something Else is a book of reason and reckoning, substance and shadow. It's tender and wide-aloud and just about everything we need right now, when both reason and reckoning are in such woefully short supply.” Phenix's full-throated poetry, with its “superlative combination of formalism and funk,” is assuredly something else.

A cross-genre poetry collection that troubles the idea of poetic voice while considering history, biology, the shamanistic, and the shapes of racial memory. In the final section of Negro Mountain, C. S. Giscombe writes, “Negro Mountain—the summit of which is the highest point in Pennsylvania—is a default, a way among others to think about the Commonwealth.” Named for an “incident” in which a Black man was killed while fighting on the side of white enslavers against Indigenous peoples in the eighteenth century, this mountain has a shadow presence throughout this collection; it appears, often indirectly, in accounts of visions, reimaginings of geography, testimonies about the “natural” world, and speculations and observations about race, sexuality, and monstrosity. These poems address location, but Giscombe—who worked for ten years in central Pennsylvania—understands location to be a practice, the continual “action of situating.” The book weaves through the ranges of thinking that poetic voice itself might trouble. Addressing a gallery of figures, Giscombe probes their impurities and ambivalences as a way of examining what languages “count” or “don't count” as poetry. Here, he finds that the idea of poetry is visionary, but also investigatory and exploratory.

These lyrical poems about growing up and becoming a parent in Detroit reflect deeply felt connections to places and experiences that inevitably fall victim to irrevocable change.Sprawl is a reconstruction of the constantly shifting landscape of metropolitan Detroit, which extends over six counties and is home to over four million people, from the perspective of a single parent raising a young child amid financial precarity. Part memoir, part invention, the book is Andrew Collard's attempt to reconcile the tenderness and sense of purpose found in the parent-child relationship with ongoing societal crises in the empire of the automobile. Here, a mansion may contrast with a burned-out home just up the street. How does one construct a sense of place in such a landscape, where once-familiar neighborhoods turn to strip malls or empty lots and the relationships that root us dissolve? Sprawl suggests that there is solace in recognizing that when we ask this question, we are never alone in asking.Within the larger geographical space of the metropolis are the in-between places of personal significance: the gas stations, burger joints, malls, and parking lots where many of the defining moments of ordinary lives occur. These poems take deep inspiration from such places, insisting on the value of the people found there, along with their experiences. What might be considered high and low culture are as inextricably linked in the formal cues of the poems as they are in the Michigan landscape, influenced by pop music, midcentury modern aesthetics, comic books, and cars.While the sprawl of the title refers to the seemingly endless succession of businesses and neighborhoods extending north from Detroit (“a sprawl this extensive breeds / empty pockets”), it also invokes the sprawl of history through poems that move between the past and present. One sequence of poems built on old newspaper clippings draws attention to a Chrysler plant that once constructed Redstone missiles. Elsewhere, two poems refer to the Detroit newspaper strike of the 1990s, a local controversy with lasting implications for the community. Sprawl ultimately illuminates the relationship of one place to other places, contextualizing its characters and locales within a wider societal frame.

Petite, une enfant exploratrice, se frotte aux énigmes d'une quête qui ne semble jamais ne pouvoir s'achever. Elle circule de manière ludique et imprévisible au travers de mondes successifs. Ces récits poétiques prennent un caractère méditatif sur l'état du monde actuel. Derrière les récits de Petite se cache un traité simplifié d'anthropologie.

Poems that traverse and question the lines between human and animal behavior. Experimenting with time, language, and transgressing boundaries, the poems in absolute animal lean into Nabokov's notion that precision belongs to poetry and intuition to science. Rachel DeWoskin's new collection navigates the chaos of societal and mortal uncertainty. Through formal poetry, DeWoskin finds sense amid disorder and unearths connections between the animal and the human, between the ancient and the contemporary, and between languages, incorporating translations from poems dating as far back as the Tang dynasty. From sonnet sequences about heart surgeries to examinations of vole romance and climate change, absolute animal investigates and moves across boundaries and invites us to consider what holds life, what lasts, what dies, and what defines and enriches the experience of being human.

In this poignant new poetry collection, one of this country's most significant voices reflects on home, on away, and on friends living and dead.'I lead a life of quiet medication', the poet claims,'longing for foreign shores, adventure and death.'But whether swimming to the yellow buoy or remembering an encounter in Belsize Park, in the thick of it or asking,'what next?', Stead's voice is intimate, amusing and always compelling. Swimming in the dark I call on memory – Rangitoto ahead, and those lights of Kohi behind making a cosy half-circle. Overhead the moon's a waka sailing west to escape first light that will put it out. I'm reaching blind fingers for the yellow buoy and touch it only as the sun does dimly through a bank of cloud

ô soleil poétique inscris nos blessures dans l'écume dans la gorge du roseau un chant décapité Portés par un souffle aussi sensuel que mystique, les poèmes d'Ahmed Ben Dhiab avivent et font danser la lumière des paysages et des visages comme le font parallèlement ses peintures. Une lumière insoumise et amoureuse. Sans jamais cesser d'interroger le mystère dans la douleur et l'exaltation, entre nostalgie et espoir, jasmin et déflagration. Silence je parle une langue-monde voix de nos blessures intimes pour qu'il nous reste la semence au cœur et l'enfance de nos rires Christian Cavaillé

In Mountain Amnesia, Thompson's poems rebuild a new world—and self—in the wake of destruction and loss. Influenced by the landscape of rural Appalachia, these poems depict a nature relentlessly working on its own disappearance for survival. Decaying plants and animal remains are housed in the same world as ramps and bellflowers on the cusp of blooming. These poems do not placate or cover up the inevitability of death, but rather use this knowledge to seek connection and make meaning: “how little and yet / how much it matters to count the dead.” Mountain Amnesia seeks a path through destruction, using ruin to clear the way for new beginnings; or, as Thompson writes, “the painful, florid bloom of passing forward.” This collectionis a testament to survival and resilience, and animal encounters—the lonely fox, the folded fawn, the returning whale, the emerging voles—become new myths along the way. Mountain Amnesia also explores the question of how implicated or dependent we are on the lives and actions of others. What does it mean to be accountable to and responsible for those around you? How are we implicated in others'crimes? What can we do in the aftermath? The poems in this collection explore the limits of knowing and seeing, and how we come to be known and seen: “I ask the world for its bandage /of meaning.” Mountain Amnesia both pursues and surrenders to these limits of knowing, narrowing the vast distances between ourselves and others.

The lyrics in All Black Everything shine with work and the freedom of young people. Full of menace and humor, objects of warfare and luxury consumption are transformed with Shane Book's blade of caustic irony against the worldwide nihilism of cash payments, guns, and disease. In their syncopated, slangy, and musically enjambed flow of the digital world, a poet known for singular collections has produced his most inventive and uncompromising volume yet. The political sublime of Caribbean poetics ebb and flood in this contagious new voice of borrowings, hijacking the trap house. This is an original collection, daring to assume the voice of the system and its death drives, having fun, mixing it up, throwing hands too. If old pirates rob I, then Shane Book has stolen back something from them. All Black Everything is a redemption song.

Si la poésie est un chant, Le Son des choses est une musique dont les mots jouent leurs partitions. Les sonorités enchantent, la musicalité électrise. La lecture de ce recueil nous transporte dans une vie ordinaire. Une vie avec ses joies et ses peines, avec ses doutes et ses interrogations. Écriture confession. Pas feutrés sur la soie de la mémoire. Primauté à l'oreille. Mère du langage. Un temps d'orage et de grêle, écrit le poète. Une goutte d'eau s'explose sur ton visage et tu cries au tsunami. Redoutant la prochaine vague. La vague de trop. La vague du souvenir.

Le bonheur à travers les belles amitiés, amours des êtres chers, les souvenirs des beaux moments de l'âme. La solitude causée par un amour décomposé parfois ne laisse que des simples souvenirs sans vie. De la négritude à la poésie, où les vers parlent à travers la plume d'un griot nègre en colère, qui chante et pleure les méandres d'Afrique, ses amours décomposées et ses mémoires d'outre-temps dans une atmosphère tant de bonheur que de malheur. Entre les chicanes triviales du monde et les débâcles humaines. Où se trouve l'issue? L'odyssée dans la symbiose et la symphonie de la nouvelle poésie négro-Africaine, où seuls les sages parviennent à saisir le fond.

Era inevitablees el nuevo libro deMario de las Sagras, más conocido como@soloeme,el poeta que ha conquistado a cientos de miles de personas con sus mensajes y su lenguaje fresco y directo enTikTok. Resulta que el mundo eras tú, lo demás solo decorado. Ir contracorriente es un modo de vida; sentirte distinto al resto, una parte necesaria de la juventud; y darte cuenta de que eres ese tipo al que en otros momentos tanto criticaste, un capítulo obligatorio para hacerse adulto. Era inevitable es una lección de humildad, un golpe en la mesa que nos derrota y a la vez nos atrapa, es una rendición, una bandera blanca a las canciones de amor y la historia del caos que deja la tormenta del deseo al pasar por uno. Aunque no queramos. Es el proceso de desangrado, lento pero constante, del que ve venir y no logra parar el desastre del amor. Mario de las Sagras hace un ejercicio de valentía en este libro poniendo en negro sobre blanco los alegatos y poemas que lo han hecho tan popular en las redes, especialmente en TikTok. En sus páginas están presentes algunos de sus textos más virales y otros muchos que son totalmente inéditos, que se mueven entre lo emocional y lo social y que son verdaderos dardos directos al pecho del lector. Apunten... Fuego.

Liz Lochhead is one of the country's leading poets. Her work has paved the way and inspired some of the most inspirational voices writing in Scotland today, including Ali Smith, Kathleen Jamie, Jackie Kay and Carol Ann Duffy. In A Handsel, the first new poems from Scotland's second modern Makar since 2016's Fugitive Colours, the poet celebrates people and those small momentous moments that encapsulate so much of her work. It is human relationships that sit at the heart of these poems; each one is a beautifully realised snapshot that explores the poet's past, her friendships and revisits favourite characters from earlier collections. This landmark publication collects for the first time the poetry of Liz Lochhead. Bringing work back into print, this collected poems publishes all of the poet's collections, presented in their entirety: Memo for Spring, Islands, The Grimm Sisters, Dreaming Frankenstein, The Colour of Black and White and Fugitive Colours, as well as poems from Bagpipe Muzak and True Confessions.

In his debut collection, Josh Sapan guides us through a lifetime of love and loss as he navigates death-of loved ones, of crickets, of houseplants-in an American landscape teeming with wonder and the promise of rebirth-in the stars, the wind, the minnows in the bay. In Rx, the prescription is literal ('blue-fog medicine breath') and figurative ('Love so big,/ it comes in a gigantic red box.'). Sapan offers a glimpse into the sometimes painfully delicate and beautiful parts of life.

Taut and contemplative, these poems ruminate on family, exile, love, and the vagaries of human perception. Love Training encapsulates Andrés Neuman's work as a poet, spanning two decades in a single unified collection. The book is divided into three sections that complement and respond to each other. The first, “Love Training,” focuses on family, loss, relationships, desire, and a sense of anchoring in the world. The second, “Fictions of Sight,” is concerned with questions of perception, perspective, language and creativity. The third, “I Don't Know Why,” is a whimsical set of interconnected poems that ask unanswered questions, serving as a kind of coda. While Andrés Neuman is a rightly celebrated and widely translated novelist, he is also a lucid—and quite prolific—poet. Love Training is the first volume to make his sensitive, incisive poems available in English.

Regarde-toi au moins une fois, homo sapiens. Les dégâts de tes projets, sans éthique et sans foi. Tu dérives et ta prose est subterfuge. « Viens sous l'arbre à palabres! » Déplie ces nuages : des étoiles s'imposent. Dans cette nuit une pause, les rêves sont sans structures. Pense l'horizon ouvert. Libère-toi de tes cages, aplanis ces frontières et voyage léger. Interprète les signes et lis les sens cachés. Marche. Comme Raymond Gurême, au goût de la vie, aux sons des songes et aux caresses du vent. Rejoue le monde, fait de rencontres. Sculpte des temps nouveaux. Répartis les richesses. Réinvente des communs. Sans maîtres. Sans traitres.

Eine ganz persönliche Auswahl von Gedichten der österreichischen Lyrikerin und Erzählerin Christine Lavant, getroffen von Jenny Erpenbeck. Christine Lavant ist eine der bedeutendsten deutschsprachigen Dichterinnen der zweiten Hälfte des 20. Jahrhunderts. Sie schrieb Gedichte, die in ihrer sprachlichen Eigenwilligkeit und existenziellen Zerrissenheit für Thomas Bernhard zu den'Höhepunkten der deutschen Lyrik'zählen. Er beschrieb ihre Lyrik als'das elementare Zeugnis eines von allen guten Geistern missbrauchten Menschen'. Lavant selbst sprach von ihrer Kunst als'verstümmeltes Leben, eine Sünde wider den Geist, unverzeihbar'und war sich dennoch ihrer poetischen Kraft gewiss. Ihre Gedichte, je zur Hälfte etwa veröffentlicht zu Lebzeiten bzw. aus dem Nachlass, erzählen von verletzten Kinder- und Frauenseelen, von Armut, Krankheit und Ausgrenzung, von der Suche nach Gott und der Auflehnung gegen ihn, aber auch von der befreienden Kraft der Liebe.

The North American debut of Tuệ Sỹ—poet, monk, scholar, dissident, and one of the great cultural figures of modern Vietnam—and a new bilingual edition to the Seedbank series.In addition to being a preeminent scholar of world philosophy and a Zen master, Tuệ Sỹ is one of Vietnam's most celebrated poets. He is a survivor of sixteen years of imprisonment and an eloquent witness to the tumult, tragedy, and resilience of his country over the last sixty years—and a full-length translation of his work into English is long overdue.Assembled and co-translated by Vietnamese poet and essayist Nguyen Ba Chung and acclaimed American poet Martha Collins, Dreaming the Mountain reflects a lifetime of creation, crisis, and commitment. With poems presented on facing pages in Vietnamese and English, this volume includes the early imagism of Tuệ Sỹ's Zen studies as a scholar and critic, midlife work that represents his attempted retreat from the devastation of war and subsequent years of imprisonment, and late, elliptical poems that give intensely lyrical expression to a lifetime of profound experience. From the “fleeting dream of red blood at dusk” to the quiet determination of one who sets out to “repaint the dawn,” these poems reflect the journey of an artist who speaks for his country, who captures its darkness and its light.At once personal and universal, coolly observant and deeply compassionate, the poems of Tuệ Sỹ bring singular attention to a fleeting, painfully beautiful world.

De la Méditerranée au Bassin Parisien, des sédiments de mots déposés par les orages. Les îles heureuses est le recueil d'une poésie dense et sobre où l'on se promène dans la réalité des choses, près du lit tendre à l'ombre des ailes. Hanté par la beauté et la nudité de l'été, l'auteur rapatrie les pauvres pensées de ses nuits, à travers le chemin d'aimer, assis sur le temps bleu. Une échappée poétique comme des lames de fond qui s'attache à restituer le monde présent et le parfum des souvenirs. Il doit s'éloigner, s'assécher, se désaccorder pour espérer atteindre la lumière. De ces mers de soleil et de ces jeux de l'ombre, il compare les poèmes à une île. Cette conquête de la durée, de l'espace, il l'explore par un doux sourire et la présence des rêves pour imprimer son sceau.

« Ici nous sommes plongés dans l'inconnu. Cette poésie échappe aux logiques habituelles. La juxtaposition des images sombre dans une absence de relief qui frise la nudité. L'aspect énigmatique du texte se renforce par l'élimination des points de repère. Il pratique l'exercice de la pudeur ou l'ascèse de la forme mais se distingue par une sorte de composition musicale. La volonté d'abstraction vaut par l'impression de gommer la surcharge. Il n'y a pas de''gras''chez Yériché Djergaian, ni lexical ni prosodique. Si le poète n'est pas compris, c'est qu'il parle hors des logiques quotidiennes. À ce titre, il est notre plus fidèle ennemi. » Denis Donikian (journal Haratch)

Face au désarroi, à la déception et à la forfaiture des amis qui l'ont abandonné, le poète, désemparé, jette des regards dans tous les sens et exprime avec lyrisme ses sentiments tantôt tristes, tantôt joyeux. Errance attire l'attention du lecteur sur le côté absurde de l'existence humaine qui se présente comme un horizon fuyant.

Cenizas offers an arresting portrait of a Salvadoran family whose lives have been shaped by the upheavals of global politics. The speaker of these poems—the daughter of Salvadoran immigrants—questions the meaning of homeland as she navigates life in the United States while remaining tethered to El Salvador by the long shadows cast by personal and public history. Cynthia Guardado's poems give voice to the grief of family trauma, while capturing moments of beauty and tenderness. Maternal figures preside over the verses, guiding the speaker as she searches the ashes of history to tell her family's story. The spare, narrative style of the poems are filled with depth as the family's layers come to light. Guardado crafted the poems in Cenizas over a ten-year period, often traveling to El Salvador for research and to conduct interviews. The Salvadoran Civil War haunts the pages of this collection as it unflinchingly explores war, its aftermath, and the bittersweet legacies that are passed down from one generation to the next. The poems mourn those who were lost and honor the strength of the speaker's ancestors. “All my people have been born from the ashes of volcanoes,” she writes, invoking a family lineage that has endured the atrocities committed against them. Even so, El Salvador keeps pulling the speaker back—and despite warnings of danger, she still manages to find beauty among the ruins.