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"A stunning overlap of a lost boy and lost landscape through the lens of a gifted poet's magical linguistic and storytelling abilities." -VICTORIA CHANG

"One of our brightest talents."-ISHMAEL REED

"A lush gem of a book, both heartbreaking and heart-making."-AMY THIELEN

"Poetic exploration in Middle English about the body, physical space, ownership of space, gender, and transitioning genders."--

"Correspondence between playwright-teacher Sarah Ruhl and poet-cancer patient Max Ritvo, in which the student becomes the teacher" --

From National Geographic's 2014 Adventurers of the Year, a beautifully illustrated account of a year in the Boundary Waters Canoe Area Wilderness

From "one of the preeminent American visionaries of our moment" (G. C. Waldrep), a singular reflection on living well in a time of distraction and despair

Since Milkweed Editions’ original publication of The Phoenix Gone, the Terrace Empty, Marilyn Chin has been widely celebrated as a consummate poet of the hybrid experience. At once ancient and contemporary, personal and political, grounded and yet uniquely dazzling, this extraordinary collection blends Asian and Western sensibilities in a pioneering way.Here, with wit and energy, Chin defines her existence as a first-generation Asian American woman, effectively straddling two cultures. And she spins virtuoso jazz in her juxtaposition of the contemporary with images and metaphors from Chinese tales and classic poems, creating an expansive poetry of self.Featuring an afterword by the author addressing the collection’s effect and the developments in her work since, this edition reintroduces a modern classic to a new generation of readers.

The speaker in this extraordinary collection finds herself multiply dislocated: from her childhood in California, from her familys roots in Mexico, from a dying parent, from her prior self. The world is always in motion both toward and away from usand it is also full of risk: from sharks unexpectedly lurking beneath estuarial rivers to the dangers of New York City, where, as Limn reminds us, even rats find themselves trapped by the garbage cans theyve crawled into. In such a world, how should one proceed? Throughout Sharks in the Rivers, Limn suggests that we must cleave to the world as it keeps opening before us, for, if we pay attention, we can be one with its complex, ephemeral, and beautiful strangeness. Loss is perpetual, and each persons mouth is the same / mouth as everyones, all trying to say the same thing. For Limn, its the sayingindividual and collective that transforms each of us into a wound overcome by wonder, that allows the wind itself to be our own wild whisper.

Larry Watson's bestselling novel Montana 1948 was acclaimed as a "e;work of art"e; (Susan Petro, San Francisco Chronicle), a prize-winning evocation of a time, a place, and a family. Justice is the stunning prequel that illuminates the Hayden clan's early years, and the circumstances that led to the events of Montana 1948. With the precision of a master storyteller, Watson moves seamlessly among the strong and hard-bitten characters that make up the Hayden family, and in the process opens an evocative window on the very heart of the American West.

First published in 1993, this pioneering anthology is a powerful polemic for fundamental cultural change: the transformation of basic attitudes about power, gender, race, and sexuality. The diverse contributors are activists, opinion leaders, theologians, policymakers, educators, and authors of both genders who tackle such not-button issues as pornography and the intersection of race and rape. The book's statistics have been thoroughly updated, as have essays about sexual violence in K-12 schools and in the church. New pieces from within America's immigrant communities depict struggles with domestic violence, sexual harassment, and community stigmas against reporting rape. This violence, not limited to one race, creed, or nationality, has its roots in cultural biases that are still much in need of change.