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The author is incredibly prolific has published work in Boston Review, Ploughshares, Cincinnati Review and the Georgia ReviewThe author has published five collections of poems and is widely connected in the poetry community, including with U.S. Poet Laureate Ada LimónThe book’s accessible poems and exploration of grief will appeal to a wide readership

The author is incredibly prolific and has published seven books of poems and forty translations from French by authors such as Roland BarthesThe author is widely published in outlets like Ploughshares, Boston Review, and The Arcadia Project and has won the Poetry Society of America’s Cecil Hemly AwardThe book’s exploration of internal and external grief, stemming from the loss of a family member and climate grief, will appeal to a wide readership

Author is widely published and his previous books have been acclaimed by the New York Times, Publishers Weekly and David Mas MasumotoAuthor is a pioneer of the Community Supported Agriculture (CSA) movement and for thirty years has farmed one of the original CSAs, located in Amagansett, New YorkAlmost one thousand CSAs are listed on the USDA’s Local Food Directories, and according to data collected in 2015, over 7K farms in the U.S. sold products directly to consumers through a CSA program; the close-knit and vast community across the U.S. will read and share this book

Author has previously published two collections of poems, is widely published in literary outlets, and has been a finalist for the Lambda Literary Award and the Audre Lorde Poetry AwardMajor authors Terry Tempest Williams and Margaret Renkl blurbed the book and are early supportersBook's package is vibrant, inviting and features photographs and newspaper clippings used in the author's family researchBook's intimate engagement with death by suicide, family inheritance, generational trauma and grief provides opportunities for wide coverage and readership; there are very few literary memoirs about suicide in the marketplace, and SINKHOLE uniquely blends memoir and ecological elegy to explore its impact on families and communitiesAccording to the CDC, suicide is the 10th leading cause of death in the U.S.; in 2019, it was responsible for more than 47,500 deaths, 12 million American adults seriously thought about suicide, 3.5 million planned a suicide attempt, and a 1.4 million attempted suicide; it is incredibly common and impacts millions of lives, despite its lingering stigma and the silence surrounding suicide in cultural conversations

"A debut collection of poetry activated by sampling, troubling, and trespassing"--

"Selected by Amaud Jamaul Johnson for the 2023 Jake Adam York Prize, Yalie Saweda Kamara's Besaydoo is an elegantly wrought love song to home-as place, as people, as body, and as language"--

"Selected by Maggie Smith for the 2023 Ballard Spahr Prize for Poetry, this debut collection of poems explores the aftermath of history's most powerful forces: devotion, disaster, and us."--

Hardcover release sold 4.5K copies across the marketplace and received a starred review from Shelf AwarenessAuthor’s previous books have sold more than 75K copies in multiple formats and were widely reviewed in the New York Times Book Review, NPR, the New Yorker, and the Wall Street JournalThe Chicago Tribune wrote that Driftless was “the best work of fiction to come out of the Midwest in many years”We expect strong blurbs from major writersBook’s engagement socioeconomic dynamics, class, wealth and poverty, the natural world, family, and community, and is a timely, relevant read

"Provocative and profound in its exploration of what makes us human, The Last Language is the story of Angela's work using an experimental therapy with her nonspeaking patient, Sam, and their relationship that ensues"--

"We are matter and long to be received by an Earth that conceived us, which accepts and reconstitutes us, its children, each of us, without exception, every one. The journey is long, and then we start homeward, fathomless as to what home might make of us."-from The River You TouchWhen Chris Dombrowski burst onto the literary scene with Body of Water, the book was acclaimed as "a classic" (Jim Harrison) and its author compared with John McPhee. Dombrowski begins the highly anticipated The River You Touch with a question as timely as it is profound: "What does a meaningful, mindful, sustainable inhabitance on this small planet look like in the Anthropocene?"He answers this fundamental question of our time initially by listening lovingly to rivers and the land they pulse through in his adopted home of Montana. Transplants from the post-industrial Midwest, he and his partner, Mary, assemble a life based precariously on her income as a schoolteacher, his as a poet and fly-fishing guide. Before long, their first child arrives, followed soon after by two more, all "free beings in whom flourishes an essential kind of knowing [...], whose capacity for wonder may be the beacon by which we see ourselves through this dark epoch." And around the young family circles a community of friends-river-rafting guides and conservationists, climbers and wildlife biologists-who seek to cultivate a way of living in place that moves beyond the mythologized West of appropriation and extraction. Moving seamlessly from the quotidian-diapers, the mortgage, a threadbare bank account-to the metaphysical-time, memory, how to live a life of integrity-Dombrowski illuminates the experience of fatherhood with intimacy and grace. Spending time in wild places with their children, he learns that their youthful sense of wonder at the beauty and connectivity of the more-than-human world is not naivete to be shed, but rather wisdom most of us lose along the way-wisdom that is essential for the possibility of transformation.

Author is a writer and book critic who has been widely published in the New York Times, the Washington Post, the Los Angeles Review of Books, and the Huffington PostAuthor is a filmmaker who wrote, directed and produced the feature documentary The Song of the Little Road, starring Martin Scorsese and Ravi Shankar, which premiered at Sundance Film FestivalThe book's celebration of the wonders of the natural world, birds, and birding around the world, and its exploration of the immigrant experience will appeal to readers of Aimee Nezhukumatathil's World of Wonders, which has sold over 350K copies, as well as to readers of J. Drew Lanham's memoir The Home PlaceAccording to the U.S. Fish & Wildlife Services, more than 45 million people watch birds around their homes and away from their homes

"In a fiercely personal yet authoritative voice, prolific contemporary poet Mikeas Sâanchez articulates the worldview of the Zoque people of southern Mexico. Her paced, steely lyrics fuse cosmology, lineage, feminism, and environmental activism into a singular body of work that stands for the self and the collective in the same instant. "I am woman and I celebrate every vein," she writes, "where I guard my ancestors' secrets / every Zoque man's word in my mouth / every Zoque woman's wisdom in my spit." How to Be a Good Savage and Other Poems offers substantial excerpts at the intersection of Zoque struggles against colonialism and empire, and those of North African immigrants and refugees. Sâanchez encountered the latter in Barcelona as a revelation, "spreading their white blankets on the ground / as if they'll soon return to sea / flying the sail of the promised land / the land that became a mirage." Other works bring us just as close to similarly imperiled relatives, ancestors, gods, and archetypal Mokaya men and women that Sâanchez addresses with both deeply prophetic and childlike love. Coming from the only woman to ever publish a book of poetry in Zoque and Spanish, this timely, powerful collection pairs the bilingual originals with an English translation for the first time. This book is for anyone interested in poetry as knowledge, proclaimed with both feet squarely set on ancient ground"--

"I Love Information is a vigorous examination of knowledge, belief, and which begets which"--

In a careful examination of personal and collective histories, David Keplinger's Ice indexes the findings from memory's slow melt-stories and faces we've forgotten, bones hidden in frost. "I am asking how much more / I have to learn from this," Keplinger writes. "You are asking that same question." In these poems, he turns to our predecessors for guidance in picking apart the forces that govern modernity-masculinity, power, knowledge, conquest. Cryptic visitants arrive in the form of Gilgamesh, "searching for a way to stay in pain forever"; a grandmother mending socks, "her face in the dark unchanging"; Emily Dickinson, lingering at her window; a lion cub, asleep in ice for millennia. With each comes a critique of the Anthropocene, our drive to possess the unpossessable. With each comes also the discovery of what-and who-we've harmed in the discovering. Ice shelves collapse. Climate change melts layers of permafrost to reveal a severed wolf's head. A pair of grease-smudged reading glasses calls up a mother's phantom. "I am sorry / for the parts you gave me / that I've misshapen," Keplinger writes. So is there "a point to all this singing"? Our ancestors cannot answer. The wolf's head can't, either. But sometimes, "out of the snow of confusion," something answers, "saying gorgeous things like yes." And the flowers "open up / their small green trumpets anyway."

"An astonishing, vital book about Antarctica, climate change, and motherhood from the author of Rising, finalist for the Pulitzer Prize in General Nonfiction"--

Bold, passionate, and more urgent than ever, Debra Magpie Earlings powerful classic novel is reborn in this new edition.On the Flathead Indian Reservation, summer is ending, and Louise White Elk is determined to forge her own path. Raised by her Grandmother Magpie after the death of her mother, Louise and her younger sister have grown up into the harsh social and physical landscape of western Montana in the 1940s, where Native people endure boarding schools and life far from home. As she approaches adulthood, Louise hopes to create an independent life for herself and an improved future for her familybut three persistent men have other plans.Since childhood, Louise has been pursued by Baptiste Yellow Knife, feared not only for his rough-and-tumble ways, but also for the preternatural gifts of his bloodline. Baptistes rival is his cousin, Charlie Kicking Woman: a man caught between worlds, torn between his duty as a tribal officer and his fascination with Louise. And then there is Harvey Stoner. The white real estate mogul can offer Louise her wildest dreams of freedom, but at what cost?As tensions mount, Louise finds herself trying to outrun the bitter clutches of winter and the will of powerful men, facing choices that will alter her lifeand end anothersforever.

Winner of the Max Ritvo PoetryPrize, Ryann Stevensons Human Resources is a sobering andperceptive portrait of technologys impact on connection and power.Human Resources followsa woman working in the male-dominated world of AI, designing women that dontexist. In discerning verse, she workshops thefacial characteristics of a floating head named Nia, who her boss calls histype; she loses hours researching June, an oddly sexualized artificiallyintelligent oven; and she spends a whole day trying to break a femaleself-improvement bot. Thespeaker of Stevensons poems grapples with uneasiness and isolation, even asshe endeavors to solve for these problems in her daily work. She attempts toharness control by eating clean, doing yoga, and searching for age-defying skincare, though she dreams about the department / that women get reassigned toafter they file / harassment complaints. With sharp, lyrical intelligence, sheimagines alternative realities where women exist not for the whims of men butfor their ownwhere they become literal skyscrapers, towering over a world thatnever appreciated them.Chilling and lucid, HumanResources challenges the minds programming our present and future to considerwhat serves the collective good. Something perhaps more thoughtful and human,Stevenson writes: I want to say better.

Somewhere between elegy and memoir, poetry and prose, Ed Pavlis Call It in the Air follows the death of a sister into song.Pavlis collection traces the life and death of his elder sister, Kate: a brilliant, talented, tormented woman who lived on her own terms to the very end. Kates shadow hovers like a penumbra over these pages that unfold a kaleidoscope of her world. A small-town apartment full of paintings & burritos & pyramid-shaped empty bottles of Patron & an ad hoc anthology of vibrators. A banged-up Jeep, loose syringes underfoot, rattles under Colorado skies. Near an ICU bed, Pavli agonizes over the most difficult questions, while doctors swish off to the tune of their thin-soled leather loafers. And a diary, left behind, brims with revelations of vulnerability nearly as great as Pavlis own.But Call It in the Air records more than a relationship between brother and sister, more than a moment of personal loss. I sit while eleven bodies of mine fall all over the countless mysteries of who you are, he writes, while Somewhere along the way, heat blasting past us & out the open jeep, the mountain sky turned to black steel & swung open its empty mouth. In moments like these, Pavli recognizes something of his big sister everywhere.Rived by loss and ravaged by grief, Call It in the Air mingles the voices of brother and sister, one falling and one forgiven, to offer an intimate elegy that meditates on love itself.

From Kingsley Tufts Award finalist Kathy Fagan comes Bad Hobby, a perceptive collection focused on memory, class, and might-have-beens.In a working-class family that considers sensitivity a fatal diagnosis, how does a child grow up to be a poet? What happens when a body meant to bend & breed opts not to, then finds itself performing the labor of care regardless? Why do we think our common griefs so singular? Bad Hobby is a hard-earned meditation on questions like thesea dreamscape speckled with swans, ghosts, and weather updates.Fagan writes with a kind of practical empathy, lamenting pain and brutality while knowing, also, their inevitability. A dementing father, a squirrel limp in the talons of a hawk, a child who wont ever get born: with age, Fagan posits, the impact of ordeals like these changes. Loss becomes instructive. Solitude becomes a shared experience. You think your one life preciousAnd Bad Hobby thinkshard. About lineage, about caregiving. About time. It paces inside its head, gazing skyward for a noun or phrase to / shatter the glass of our locked cars & save us. And it does want to save us, or at least lift us, even in the face of immense bleakness, or loneliness, or the body changing, failing. Dont worry, baby, Fagan tells us, the sparrow at her window. Were okay.

Ama Codjoes highly anticipated debut collection brings generous light to the inner dialogues of women as they bathe, create art, make and lose love. Each poem rises with the urgency of a fully awakened sensual life.Codjoes poems explore how the archetype of the artist complicates the typical expectations of women: be gazed upon, be silent, be selfless, reproduce. Dialoguing with and through art, Bluest Nude considers alternative ways of holding and constructing the self. From Lorna Simpson to Gwendolyn Brooks to Lynette Yiadom-Boakye, contemporary and ancestral artists populate Bluest Nude in a choreography of Codjoes making. Precise and halting, this finely wrought, riveting collection is marked by an acute rendering of highly charged emotional spaces.Purposefully shifting between the role of artist and subject, seer and seen, Codjoes poems ask what the act of looking does to a personpublic looking, private looking, and that most intimate, singular spectacle of looking at ones self. What does it mean to see while being seen? In poems that illuminate the tension between the possibilities of openness and and its impediments, Bluest Nude offers vulnerability as a medium to be immersed in and, ultimately, shared as a kind of power: There are as many walls inside me / as there are bones at the bottom of the sea, Codjoe writes in the masterful titular poem. I want to be seen clearly or not at all.The end of the world has ended, Codjoes speaker announces, and desire is still / all I crave.Startling and seductive in equal measure, this formally ambitious collection represents a powerful, luminous beginning.

Copper Nickel is the national literary journal housed at the University of Colorado Denver. It isedited by poet, editor, and translator Wayne Miller (author of five collections, including We the Juryand Post-, coeditor of Literary Publishing in the Twenty-First Century, and co-translator of MoikomZeqo’s Zodiac) and co-editor Joanna Luloff (author of the novel Remind Me Again What Happenedand the story collection The Beach at Galle Road)—along with poetry editors Brian Barker (author ofVanishing Acts, The Black Ocean, and The Animal Gospels) and Nicky Beer (author of Real Phonies andGenuine Fakes, The Octopus Game and The Diminishing House), and fiction editors Teague Bohlen(author of The Pull of the Earth), Alexander Lumans (whose work has appeared in American ShortFiction, Gulf Coast, The Paris Review, Story Quarterly, and elsewhere), and Christopher Merkner(author of The Rise & Fall of the Scandamerican Domestic). Since the journal’s relaunch in 2015, work published in Copper Nickel has been regularly selected forinclusion in Best American Poetry, Best American Short Stories, Best Small Fictions, and the PushcartPrize Anthology, and has often been listed as “notable” in the Best American Essays. Contributors to Copper Nickel have received numerous honors for their work, including the NobelPrize; the National Book Critics Circle Award; the Pulitzer Prize; the Kingsley Tufts PoetryAward; the Kate Tufts Discovery Award; the Laughlin Award; the American, California,Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the PrixMax Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-WolfBook Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well asfellowships from the NEA and the MacArthur, Guggenheim, Ingram Merrill, Witter Bynner,Soros, Rona Jaffee, Bush, and Jerome Foundations. Copper Nickel is published twice a year, on March 15 and October 15, and is distributed nationallyto bookstores and other outlets by Publishers Group West (PGW) and Media Solutions, LLC. Issue 35 Includes: • Poetry Translation Folios with work by four 21st century female poets: emerging Korean poetKim Yurim, translated by Megan Sungyoon; emerging Spanish poet Beatriz Miralles de Imperial,translated by Layla Benitez-James; Khazakhstani Russian-Language poet Aigerim Tazhi, translatedby J. Kates; and emerging Italian poet Giovanna Cristina Vivinetto, translated by Gabriella Fee andDora Malech. • New Poetry by National Book Award finalist Leslie Harrison; Kingsley Tufts Award-winnerAngie Estes; Guggenheim Fellow Eric Pankey; Whiting Award-winner Joel Brouwer; Felix PollackPrize-winner Emily Bludworth de Barrios; as well as emerging poets Ariana Benson, Chee Brossy,Dorsey Craft, Asa Drake, Anthony Immergluck, Luisa Maraadyan, Stephanie Niu, Ben Swimm,and many others. • New Fiction by recent NEA Fellow Sean Bernard and emerging writers Molly Beckwith Gutman,Chemutai Kiplagat, and Sean Madden. • New Essays by James Laughlin Prize-winner Kathryn Nuernberger and emerging essayist DespyBoutris.

The North American debut of Tu? S?-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, Tu? S? 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 Tu? S?'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 Tu? S? bring singular attention to a fleeting, painfully beautiful world.

"Moving back and forth from the tumultuous years surrounding Partition to the era of renewed global sectarianism following 9/11, this extraordinary historical novel portrays a family and nations divided by the living legacy of colonialism"--