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Poetry. How do we care for a broken world, especially when we ourselves are broken-hearted? How do we nurture others when we have scarce resources? How do we maintain our own sense of self under these pressures? The work of care falls disproportionately on women and often renders them lacking and unacknowledged in their labor. GENTLEWOMEN explores personal and historical trauma, bonds between mothers and sisters, and our estrangement from the natural world and from ourselves due to an exploitative and extractive relationship to land and peoples (human and otherwise). Through an allegorical envisioning of a world that is like our own but heightened through the individual lives and responsibilities of three sisters, Natura, Providentia, and Fortuna, the poems sound out in mourning and frustration--and try to imagine the world otherwise. A transformative journey through the shadows towards reconciliation both between sisters and with oneself.
A book of illustrated essays + an oracle deck. Prairie Divination turns to the plants, animals, and geological features of the tallgrass prairie ecosystem as a source for knowledge and inspiration as to how to live in the world (and to re-align thinking towards kinship and sustainability). How might thinking with plants and animals guide us in navigating an uncertain present--and help to imagine futures? Filled with information for each corresponding card, the illustrated book of essays offers personal guidance and affirmations based on the specific lessons that each plant, animal, and element can teach us.
Poetry. DEEP CITY renders the city and the body as architectures in crisis. The poems explore the city and suburbs as container and contents of collective memory and investigate how space shapes the body/ how we create space. They examine language and identity in the pathology of late capitalism, with its unaffordable housing, healthcare, and educational systems, exploitive labor practices, and continuous violence on its citizens. DEEP CITY captures city as site for these myriad interactions, locating the body in space in relation to people, animals, architectures, and technologies. The city also becomes site to explore the self in relation to its urban exteriority, working to question the limits of the construction of self and subjectivity. Riffing on themes of urban decay, suburban housing developments, and the works of Julia Kristeva, Young Jeezy, and Honoré de Balzac, DEEP CITY explores what happens when narrated identity becomes both essential and unbearable.
Poetry. "The body 'being' in sun, the gaze at rain, teleology inside the house with these strokes and compasses, Megan Kaminski deftly configures a desiring map, across seacoasts and Kansas plains, through leaves, roots, movements of light. Here a quieter but not quietist America emerges where life's precarity holds there is a relation between the natural world and neural capacity as we are pulled into syntax's own search and quizzicality, its seeking to find a place for the I that only momentarily settles before it dislodges again, uncovering questions, finding parts of speech or weeds that answer. 'Speech lies in the break on the river edge, ' the poem says: 'subtle splendor.'" Erin Moure ...
Cincinnati Magazine taps into the DNA of the city, exploring shopping, dining, living, and culture and giving readers a ringside seat on the issues shaping the region.
The idea that plants have a mind of their own has been a prominent feature of some Indigenous narratives, literary works, and philosophical discourses. Recent scientific research in the field of plant cognition similarly highlights the capacity of botanical life to discern between options and learn from prior experiences or, in other words, to think. The Mind of Plants offers an accessible account of the idea of "the plant mind" by bringing together short essays and poems on plants and their interactions with humans. The texts interpret the theme broadly--from the ways that humans mind and unmind plants to the mindedness or unmindedness of plants themselves. Authors from the humanities, soci...
Words of a Feather is a poetry and bird chapbook designed to uplift pandemic-era Kansans in the environmental humanities. In these complicated times, the chapbook keeps it simple: connecting Douglas County residents with the beauty of local birds and engaging them with deep humanities questions guided by poetry. As we continue to socially distance, we can consider and enjoy a renewed focus on communion with the outdoors and the common good of environmental stewardship.
Featuring “Good Bones”—called “Official Poem of 2016” by the BBC/Public Radio International. Maggie Smith writes out of the experience of motherhood, inspired by watching her own children read the world like a book they've just opened, knowing nothing of the characters or plot. These are poems that stare down darkness while cultivating and sustaining possibility, poems that have a sense of moral gravitas, personal urgency, and the ability to address a larger world. Maggie Smith's previous books are The Well Speaks of Its Own Poison (Tupelo, 2015), Lamp of the Body (Red Hen, 2005), and three prize-winning chapbooks: Disasterology (Dream Horse, 2016), The List of Dangers (Kent State,...
Featured on NPR's "Fresh Air" "Sometimes books really do change the world... This one will set in motion a project that may transform Vietnamese culture."--Utne Reader Ho Xuan Huong--whose name translates as "Spring Essence"--is one of the most important and popular poets in Vietnam. A concubine, she became renowned for her poetic skills, writing subtly risque poems which used double entendre and sexual innuendo as a vehicle for social, religious, and political commentary. The publication of Spring Essence is a major historical and cultural event. It features a "tri-graphic" presentation of English translations alongside both the modern Vietnamese alphabet and the nearly extinct calligraphic...
Poetry. Winner of the of the 2016 Bob Kaufman Book Prize. "OROGENY buries deep into rock and soil, silence and speech, into the pulse of what connects us as mothers, sisters, lovers, and ghosts--the quest for home and for a language that can account for both what might become and what has been lost. Searching ecologies, history, and embodied experience, Irene Mathieu's lyric voice pieces together a world, which is at once our own and a map of possibility, a 'fetal dream of ourselves, a sea of curled and floating ideas.'" --Megan Kaminski