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Dandarians
Based on sources as diverse as Heian period female Japanese writers and the world of science fiction, and drawing on her own experience as a second-generation Japanese American, acclaimed poet Lee Ann Roripaugh's fourth collection explores a series of ?word betrayals”?English words misunderstood in transmission from her Japanese mother that came to take on symbolic ramifications in her early years. Co-opting and repurposing the language of knowledge and of misunderstanding, and dialoguing in original ways with notions of diaspora and hybrid identities, these poems demonstrate the many ways we attempt to be understood, culminating in an experience of aural awe. At once wonderfully lyrical and strikingly acute, Dandarians will further establish Lee Ann Roripaugh as one of the most important and original voices in contemporary Asian American literature.
tsunami vs. the fukushima 50
In March 2011, a tsunami caused by an earthquake collided with nearby power plant Fukushima Daiichi, causing the only nuclear disaster in history to rival Chernobyl in scope. Those who stayed at the plant to stabilize the reactors, willing to sacrifice their lives, became known internationally as the Fukushima 50. In tsunami vs. the fukushima 50, Lee Ann Roripaugh takes a piercing, witty, and ferocious look into the heart of the disaster. Here we meet its survivors and victims, from a pearl-catcher to a mild-mannered father to a drove of mindless pink robots. And then there is Roripaugh’s unforgettable Tsunami: a force of nature, femme fatale, and “annihilatrix.” Tsunami is part hero a...
Year of the Snake
In her second collection of poems, Lee Ann Roripaugh probes themes of mixed-race female identities, evoking the molting processes of snakes and insects who shed their skins and shells as an ongoing metaphor for transformation of self. Intertwining contemporary renditions of traditional Japanese myths and fairy tales with poems that explore the landscape of childhood and early adolescence, she blurs the boundaries between myth and memory, between real and imagined selves. This collection explores cultural, psychological, and physical liminalities and exposes the diasporic arc cast by first-generation Asian American mothers and their second-generation daughters, revealing a desire for metamorphosis of self through time, geography, culture, and myth.
Beyond Heart Mountain
Lee Ann Roripaugh has been hailed by Ishmael Reed as "one of the brightest talents" writing poetry today. In this collection, she gives voice to the Japanese immigrants of the American West. In an unforgiving land of dirt and sagebrush, mothers labor to teach their children of the ocean, old men are displaced by geography and language, and the ghosts of Hiroshima clamor for peace. Lee Ann Roripaugh's exquisitely crafted poems rise from the pages of Beyond Heart Mountain burdened with memory and pain, yet converting these to powerful art--art that is like "the pattern of kimono found burned into a woman after Hiroshima . . . almost too beautiful, too horrible . . . to bear." Remember to raise bright orbs of rice-paper lanterns by the goldfish pond, so they can watch for me with the yellow, unblinking gaze of nocturnal things . . . --from "Peony Lantern"
On the Cusp of a Dangerous Year
Lady Murasaki wrote in The Tale of Genji that thirty-seven is “a dangerous year” for women. Evoking the styles of Murasaki and other women writers of the Heian-period Japanese court, Lee Ann Roripaugh presents a collection of confessional poems charting the course of that perilous year. Roripaugh, in both an homage to and a dialogue with women writers of the past, explores the trials of women facing the treacherous waters of time while losing none of the grace and decadence of femininity. Often calling upon the passing of the seasons and revelations of nature, these lyrically elegant poems chronicle the dangers and delights of a range of issues facing contemporary women—from bisexualit...
#stringofbeads
#stringofbeads is an homage to Heian-period Japanese poet Princess Shikishi’s elegant series of linked tanka journaling her days, experiences, and psychological weather—with a lens particularly oriented toward questions of place, ecopoetics, and climate change. #stringofbeads honors both the impulse and practice of Princess Shikishi’s poetics, but in a way that explores contemporary contexts, images, themes, intellectual discourses, and technology. Highways, airports, Pokemon, comics, and social media are all a part of this poet’s daily life and interactions, and are deliberately included within the frame. Determined by the aleatoric minutiae of chance encounters and observations, these tanka are meant to unfold in simple, attentive, daily gradations—like a strand of beads or pearls.
Wild Grass on the Riverbank
These poets will plunge you into dreamlike landscapes of volatile proliferation: shape-shifting mothers, living father-corpses, and pervasively odd vegetation
Beautiful Nerve
The poems in Sheila Squillante's debut collection, Beautiful Nerve, are meant to unsettle. They draw on our anxieties and fears--somatic, linguistic, metaphoric--leading us somewhere somehow calming in its familiarity but troublingly unsteady: a bridge that ends abruptly as you cross it, the doomed deck of a haunted ship, a three-cornered room, the cutlery drawer, a table where you lie still beneath the surgeon's knife. Miscommunications and disorientations abound in these poems. Memories and dreams collide with nature and media, creating something superficially simple, but too unstable for us to ever get comfortable. "Look at the landscape for a while," they tell us. But then "pull out and be on your way."
Original Bodies
Poetry. ORIGINAL BODIES explores the primitive mindset, the ancient brain that exists within us all. Most of us don't believe that three crows in a black willow tree portend death, that a dry steam bed suggests that a spouse or relative will have a miscarriage, that we can read our lives in the entrails of a pickerel frog or in a hognose snakeskin found draped beside a river bank. But we do wish that we might gain some small control over our destinies. Residing half in the real world and half in the dream world, the poems accentuate the slipperiness we often feel between the corporeal and incorporeal, which is the source of both our fears and longings.
