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American Faith
The ultimate subject of Maya Catherine’s stunning debut collection is violence. American Faith begins with its manifestation in our country: a destructive administration, a history of cruelty and extermination, and a love of firearms. “He owns a gun farm in Florida/they grow in swamps like chestnuts.” The poet introduces a suite of poems that precisely imagines the consequences, a series of “cancellations”—of government, bees, the color wheel, the return to nature, and the end of the world. The violence naturally extends to the personal. The speaker’s Romanian grandfather keeps wild dogs in case a man tries to steal his daughters. A godmother is psychologically erased by her tempestuous husband, who is nevertheless generous to flowers. “It’s what happened inside her/that slouched.” And what for some is routine can feel like an assault: a TSA agent wipes down a bra tucked in a traveler’s suitcase, adding, “prettiest terrorist I’ve seen all day.” Tentatively, the title poem casts light on the unexplored future, a solution that includes faith: “...the days, impatient, fresh beasts, appeal to me—You are here. You must believe in something.”
BEES HAVE BEEN CANCELED
Maya Catherine Popa's The Bees Have Been Canceled is haunted by violence and catastrophe, by the consequences of human desire turned to incommensurate ends, and anxious about the resources of language. --Averill Curdy
Dear Life
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Taking Mesopotamia
Taking Mesopotamia was originally inspired by Jenny Lewis's search for her lost father - the young South Wales Borderer who fought in the ill-fated Mesopotamian campaign of World War I. Through reconstructed diary extracts, witness statements, formal poems and free verse, the book extends into a wider exploration of the recent Iraq wars. It also includes translations of a number of the poems into Arabic, and photographs taken by Lewis's father on campaign in 1916. Woven throughout the book is a strand inspired by The Epic of Gilgamesh, whose themes of hubris, abuse of power and fear of death show us how little the world has changed in four thousand years.
Song & Error
A lush, lyrical debut from a vibrant new poetic voice A sparrow like a "fumbled punch line" is lost in an airport; a man translating Ovid is transfigured by witnessing a massacre in Jamestown in 1621; a woman smiles seductively as the skin on her back is opened out like a wing; a lizard upon a laptop shimmers with the true life, primitive and binary, of our modern information age. In the sonically rich, formally restless poems of this debut collection, Song & Error, the thread that unravels all we think we know of the world is plucked loose and drawn from a seal's beached corpse. Uniting past and present, history and autobiography, Averill Curdy's poems strive to endure within "the crease of transformation" and to speak-sing-of that terrible beauty.
Our Lady of the Ruins
"Poetry for the new century: awake to the world, spiritually profound, and radiant with lyric intelligence." --Carolyn Forché
You Always Wished the Animals Would Leave
This is a work of seething precision. In these poems, hope is a meticulous, meditative state--a method of forensic searching and study that is carried with great care across generations. By stitching her raging images together with stillness and poise, Popa asks us to step back from our panic and look: "peeling back the hair, that quiet, necessary artifice, / to reveal a nesting doll of impulses." --Caroline Bird In Maya Catherine Popa's You Always Wished the Animals Would Leave, feathers are unfulfilled parables, a hen's eggs turn a vicious red, and a super moon "blooms a tyranny of flowers." A helix of histories lies threaded to both the present day and the various magics of night. These poems are smart and lush, and at the end of each of them my heart, mind, and ear argue over which was lavished with the most pleasure. I am enchanted by this book, in its thrall, its bright gravity, its terribilitA. --Traci Brimhall
Self Portrait in Green
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
Into Perfect Spheres Such Holes Are Pierced
The family response to the sudden deaths of the speaker's two young nieces is at the center of Catherine Barnett's award-winning first collection. This series of elegies records the transit of grief, observing with an unflinching eye how a singular traumatic event can permanently alter our understanding of time, danger, the material world and family. Marked by clarity and restraint, these lyric poems narrate a suspenseful, wrenching story that explores the depths and limits of empathy. “Living Room Altar” Except for the shirt pulled from the ocean, except for her hands, which keep folding the shirt, except for her body, which once held their bodies, my sister wants everything back now—...
A Head with Wings
"'Do you see something there? Why are you standing still all of a sudden?' With those words begin Anouk Kruithof's trip into the Little Brown rabbit hole. Using hand-made montages of photographs she took in Belize, Mexico, Egypt, Morocco and Berlin, Kruithof spins a hallucinatory yarn of anxiety and desire." --Publisher description.
