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Taste of Cherry
In Kara Candito's prize-winning debut collection a "garish/human theatre" comes to life against richly textured geographic and psychic landscapes. These poems are high-speed meditations on a world where Walter Benjamin meets the "glitzy chain-link of Chanel scarves" and Puccini's Tosca meets the din of the Times Square subway station. Ferociously witty and intensely lyrical, Taste of Cherry speaks to us in a language that is simultaneously private and public, sensual and cerebral.
Odd Bloom Seen from Space
These poems speak an odd nostalgia for what turns on, in, and alongside the world. A tragedy of loss, a miracle of eroticism, or a comedy of road kill, Odd Bloom Seen from Space looks at the self amid the ashes of fleeting exultation and uncertainty. The speaker tells stories with wild candor on matters of heroic inadequacy while searching through his obsessive questions for greater meaning. But it’s in the act of discovery, through the hero’s immediate ancestry that Welch’s debut collection confronts big questions about family, music, art, and memory. Like a contemporary Diogenes who pursues meaning one small gesture at a time, Welch comes to learn truth is a “brutal commerce,” beauty is “white legs / upon which she shed her childhood,” time is “Michael Jackson / hooting in the trees,” and “Love is gradual, a bottle / by sips, a bottle / poured onto the floor.” There is wisdom to be gained from these inventive pursuits, but in the end it’s not what is said, but how it’s said with terse rhetoric, deep imagery, and surprising humor that makes Odd Bloom Seen from Space such a gorgeous, original, and baffling collection.
The Prairie Schooner Book Prize
After ten years of selecting great books from writers, new and established, Prairie Schooner celebrates the first decade of its Book Prize series by offering this collection of excerpts from each year's winners in fiction and poetry. Writers such as Brock Clarke, Anne Finger, Rynn Williams, and Paul Guest open windows to ordinary and fantastic experience showcasing the liveliness and power of contemporary literature. Greg Hrbek's darkly comic, genre-bending tales stand alongside Ted Gilley's stories about achieving bliss through pain and John Keeble's reflections on community and the difficulty of love. Here Shane Book's poems serve as an elegiac witness to suffering, while Kathleen Flenniken's poems consider ordinary women constructing their own significance, and Kara Candito's explore sex, loss, and human passions. Whether the topic is fantastic or quotidian, childbirth or monsters, South American airplane disaster or suburban Wisconsin, this writing carries us to the furthest reaches of human experience.
The Zoo at Night
Winner of the Prairie Schooner Book Prize in Poetry, Susan Gubernat's The Zoo at Night reflects with subtle craft on the dark side of love, death, the family romance, carnality, and lofty aspirations. She thinks of her poems as "night thoughts" resembling nocturnes, in which "a bit of light leaks in." Both experimental and classic, Gubernat's poems combine formal and free verse elements. A (mostly) unrhymed sonnet sequence seeks to recall the world of a pre-digital childhood when physical objects--tactile, mechanical--took on totemic import and magical significance. Other poems echo the Rilkean principle that poetry can be empathetic by looking outward at the "thingness" of the world. In these works of love and longing, Gubernat enters through the doors of craft and exits with feeling.
Ceiling of Sticks
Winner of the Prairie Schooner Book Prize in Poetry, Shane Book's collection,Ceiling of Sticks, is a powerful and unflinching sort of documentary poetics. It bears elegiac witness to the effects of global politics on individual lives. Book's poems carry us to Uganda, Ghana, Mali, Trinidad, and Canada's west coast; from a religious sacrifice in Tarahumara, Mexico, to Book's ailing grandfather's bedside. They bring an intimate vision of humanity to scenes of inhuman atrocity and suffering; a moment of clarity and empathy to individuals overwhelmed by war or other man-made catastrophes. The attentiveness of the poems and meditative lyrics reveal a careful allegiance to their subjects and a fearless refusal to turn away. Filled with experiences of Africa and Latin America, California and the Caribbean, family and lost love, these poems resonate with the intensity of truth as it is lived and written.
American Radiance
Winner of the Prairie Schooner Book Prize in Poetry, American Radiance, at turns funny, tragic, and haunting, reflects on the author’s experience immigrating as a child to the United States from Ukraine in 1991. What does it mean to be an American? Luisa Muradyan doesn’t try to provide an answer. Instead, the poems in American Radiance look for a home in history, folklore, misery, laughter, language, and Prince’s outstretched hand. Colliding with the grand figures of late ’80s and early ’90s pop culture, Muradyan’s imagination pushes the reader forward, confronting the painful loss of identity that assimilation brings.
Some Are Always Hungry
Winner of the Prairie Schooner Book Prize in Poetry, Some Are Always Hungry chronicles a family’s wartime survival, immigration, and heirloom trauma through the lens of food, or the lack thereof. Through the vehicle of recipe, butchery, and dinner table poems, the collection negotiates the myriad ways diasporic communities comfort and name themselves in other nations, as well as the ways cuisine is inextricably linked to occupation, transmission, and survival. Dwelling on the personal as much as the historical, Some Are Always Hungry traces the lineage of the speaker’s place in history and diaspora through mythmaking and cooking, which is to say, conjuring.
Reliquaria
In his prize-winning poetry collection Reliquaria, R. A. Villanueva embraces liminal, in-between spaces in considering an ever-evolving Filipino American identity. Languages and cultures collide; mythologies and faiths echo and resound. Part haunting, part prayer, part prophecy, these poems resonate with the voices of the dead and those who remember them. In this remarkable book, we enter the vessel of memory, the vessel of the body. The dead act as witness, the living as chimera, and we learn that whatever the state of the body, this much rings true: every ode is an elegy; each elegy is always an ode.
