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Third Eye Rising explores the neurodiversity of India through two of the country's most compelling aspects: family ties and spiritual faith. In a land where divisions of caste and class threaten survival, where the religious are corrupt and the corrupt religious, and where dogmas and superstitions impede economic and individual progress, Shroff shows how spiritual realizations impact daily lives and how they help withstand circumstances of corruption, greed, betrayal, prejudice, and personal loss. In the title story, "Third Eye Rising," a young wife must prove her innocence to her sadistic in-laws; in "The Kitemaker's Dilemma" a nomadic kitemaker takes it on himself to save a melancholic boy from exile; in "Bhikoo Badshah's Poison" a migrant youth, employed in the city, attempts to shed the burden of his caste; in "Diwali Star" a retired police inspector draws on the events of the epic Ramayana to redefine his relationship with his sons; in "A Matter of Misfortune" two childhood friends have a face-off over the two faces of India: urban and rural; in "Oh Dad!" a dutiful son takes it on himself to protect his father from an unscrupulous taxman; in "An Invisible Truth" an employer delves into his manservant's life only to get a life-changing insight into his own. Through these stories, we learn how in India it is spiritual faith that unifies, inspires, and frees its recipients from the bondage of struggle. Shroff has tackled his subject-the darker side of India-with the full democracy of his imagination and an empathy that believes in the eternal unity of man.

Streaming straight out of the Surrealist matrix, Valery Oisteanu's poetry takes us back to the movement's origins and simultaneously propels us forward, giving us the energy and values of what Breton-Péret-Desnos et al. synthesized while "making it new" for our day. These poems are powerful, thrilling, wise, and politically right on target.

Evan Reynolds is destined to be one of the leading poets in mad studies. This book of poetry is filled with great sophistication about madness including the emotions and linguistic sensorium surrounding and immersing distracted states of being. The poetry becomes the very thing it is describing.

The micro-tales collected here were generated from sentences or stanzas that were donated by other writers, but this is not a collaborative project. After the original writer donated their words, they had no additional input or participation. The author thanks all these generous and beautiful writers for their gracious trust in this project.

In this Boomer memoir, Driving Miss Daisy meets One Flew Over the Cuckoo's Nest. With lilting eloquence, Summer Brenner captures the tumultuous fifties and sixties of a genteel Jewish family in Atlanta, with the South's oppressive segregation and anti-Semitism. The family drama is fraught: the brother is a schizophrenic, the mother a Gucci-clad Medusa, and the father a suicide. After extensive travels, Brenner frees herself in the Bay Area to become "more beatnik than debutante." Framed by historic events, this is the moving coming-of-age story of a generation.

Miller's poetry in Matrix is minimalist, but it is not austere; it is spare, but generous rather than dry. As with his prose poetry, there are buried quotations and allusions, a richness of layering. And there is the balance of repetition, compositions of colour replaced by their words, simple ink drawings.

Em's dog walks in Govans, a Baltimore city neighborhood, bring her into contact with Danny, a neighborhood resident who cannot resolve his history, especially the hidden parts of his past. Their friendship crosses racial lines in a city in which the geography has historically reinforced a divide. Nature is the force that makes their paths cross, and reconciles the long past with the present, the traumatically lost with what can be brought to a state of peace, and this specific location with the diverse human lives that inhabit it.

Benjamin Friedlander's first book in twelve years, Some Cares, is also his most autobiographical. Moving deftly from crude fact to abstract condition, the poems document a difficult decade of eldercare and mourning, of aging, unease, and fragmented knowledge. Of light and dark in alternation, seasonal rhythm, currents of feeling The five stages of history Isolation Barter Amnesia Denial Anger Depression Everything gets to happenat least once, hypothetically;the eventual will occur.It all comes down like snow, but doesn't stick My heart is a cup that never fills. I sip from it on occasion.

This book puts on the table the work of the poet (and of the creator in general) in a convulsed world, in a time where indifference is not an option. Civil Poems explores Mexico's current affairs through poems that employ images and apocalyptic language to portray the profound national crisis it is suffering. Mexico's brutal reality seen through the gaze of a civil concern that will make you rethink your own reality.

Harold Jaffe is a master of the disembodied voice. These fictions-transgressive, political, dryly comic-are grounded in an ancient tradition, that of the speech of the storyteller. Interlocutors talk as if out of dark caves, and the result is a marvel of conversation that takes the reader to places somehow beyond the "real world," only to comment, often searingly, upon its absurdities.

The Caribbean TrilogyThough it stands fully on its own, Sailing to Noon is the first volume of The Caribbean Trilogy, three novels by Hoyt Rogers (with Artemisia Vento and Frank Baez). The second and third books, Midnight at Sea and Return to Day, are forthcoming; a sequel, The Caribbean Farewell, is in preparation.

In this memoir, Zack Rogow tries to solve the mystery of the father he never knew. Lee Rogow was a widely published fiction writer, drama critic for the Hollywood Reporter, glamorous man-about-town in Manhattan of the 1950s, captain of a submarine-chaser in World War II-and he died tragically in a plane crash when his son Zack was only three years old. For decades, grief kept Zack from looking closely at his father's writings. In Hugging My Father's Ghost, Zack delves into his father's unpublished work and unearths treasures. The memoir includes Lee Rogow's most intimate writings that have never seen the light of day. Those pages reveal intriguing secrets about Zack's parents and their complex connections to the couple their children knew as godparents. The memoir intersperses Zack's father's writings, Zack's reflections on his parents and the Greatest Generation, and imaginary conversations between his father and himself. The book blends laugh-out-loud humor with sharp pathos, while dealing with the pressures on immigrant families and how those impacted the fates of his parents.

Sun Eye Moon Eye centers around Logan Blackfeather, a musician of mixed Hopi descent, whose faulty sense of direction sends him spiraling through the mid-'80s. The novel opens with Logan crossing a stretch of Arizona desert, his thumb out for a ride and most of what he owns in a bag slung over a shoulder. By this time he has suffered a breakdown and given up music. A knife fight in the parking lot of a roadside bar ends in the death of a trucker, and in short order Logan finds himself in a psychiatric hospital in New York. He makes his way to Manhattan, where he's as bewildered by the fluorescent-colored spikes of punks as he is by the upturned collars of yuppies. A job as a piano man in a Village bar eases him back into music, and he falls into a turbulent relationship with a successful ad executive. Haunted by a dead father who comes to him in dreams, by the killing of the trucker, and memories of his violent uncle/stepfather, Logan is caught between tradition and modernity, the rural and the urban, his Anglo and Native American ancestries. Myth and dream play key roles in reconstructing Logan's worldview, and he begins to suspect that empirical reality is as open to interpretation as the dream world.

In a timid age fraught with self-consciousness and convention, Robert Perchan sounds the depths of fresh authenticity, conviction and humor. He belongs to the family of Henry Miller, Georges Bataille and Boccaccio. Chorea an open window on an exotic and true world that is also sentimentally universal. A journey and an education!

Fierce, blood-stained and breathtaking, The Last Judgement is a lamentation on America's original sin of slavery and its attempted expiation in the civil war. Focusing on the dying and unconscious Lincoln, the novel weaves its terrible and stylish magic around questions of guilt, atonement, shame and retribution. No comforting Zen bardo here, this is old testament history, where vengeance is the Lord's and redemption uncertain.

Would her life have been better if she'd had sex with her supervisor when she was 23? Hester Smith is a woman who always played life near the sidelines-until she decides to rescue a teenage Mexican prostitute. She's up against the border sex trade in SouthernCalifornia that works like a drug cartel, where the smuggled contraband is teenage girls forced to work as prostitutes in undeveloped canyons just outside suburbia. Law enforcement agencies know it happens, as do investigative journalists, yet the illegal sex trade continues to exist. Most people, comfortable in their homes only miles away, express some brand of shock in the moment they hear about it-and then they go on with their lives, assured there's nothing they can do. While she prepares for the rescue, Hester discovers that the man with whom she almost had an affair-her mentor when she was a 23 year-old student teacher-had been simultaneously having a sexual relationship with a 16 year-old student. Hester mines her own memories of the would-be affair and ultimately tracks down the former 16 year-old. When these two women with a shared scandal in their pasts confront one another, the meeting coincides with the last step necessary to rescue the teenage prostitute Hester has tried to protect. It is only this mayhem that allows Hester to finally take ownership of her decisions and regrets.

"I wrote my experimental novel Reap Violet Hiss in my 20s through the 1970s in my East Village apartment. It is an abstract, almost cubist novel, where planes of thought intersect with one another, splicing life into constantly shifting images; it may also be read as a prose poem. Drawing upon my unconscious mind, I am a poet who wrote a novel. Just for you."

Not that he was immensely well known in his lifetime-a somewhat (though not completely) isolated writer, he seems to have had no contact with the more significant and/or prominent modernist figures of the day, such as e e cummings, Marsden Hartley, Hart Crane, Waldo Frank, Jean Toomer or Kenneth Burke.

The inventor of the Hempattery quits her corporate job to pursue her visionary biotech experiments only to find a back-burnered idea of hers was stolen, bioengineered, and disseminated by mysterious biohackers, leading to a new malleable fungus that takes on properties no one expected. The Robertson family, a sprawling black San Francisco clan, finds itself at the heart of this swirling urban saga. From the 101-year-old matriarch through her youngest son Frank, a UCSF cop, to the urban farming granddaughter Janet, sons and daughters move through this strangely familiar San Francisco.

Female Body Retold by Giorgia Pavlidou is an anchor-imperfect, yes, but there nonetheless-thrown into the chaos we live in. It doesn't matter if that chaos comes from identity politics and the ephemeral arguments they provoke or the more pressing invasion of human space by digital technologies masquerading as thought and, with robots, as body; to keep us well sexualized (though onanism, no matter how mediated, goes only so far)-themes that Giorgia explores.

Samantha Barendson's My Lemon Tree inhabits that rare space where poetry and prose meet and blend to create a story that is raw, honest, and ultimately redemptive. Christine Chen and M Jaime Zuckerman's English version is a triumph of translation. It captures the music and the drive of Barendson's masterful work in language that is clear and compelling.

In America, we tend to look at poetry written in English in siloed ways, according to rubrics that allow for distinct academic distinctions and syllabi and the logic of reviews, and also because our poets have answered the conditions of American life and history, our diversity, the history of racism, our relationship to the world as a global power, colonialism, the post-colonial sympathies of thinking Americans, and Empire itself. We don't necessarily have the conceptual equipment to perceive the nuances of Anglophone poetry, which is so like the proliferation of Greek language poetry across the classical world, when it diverges from the stories that we feel we need to understand to make the world a better place, and even when there could be a path through existing intellectual infrastructure, if we are reading in America, we don't necessarily stumble upon the new book, say, by the Zimbabwean poet Togara Muzanenhamo published in England. Then there are also poets like Vincenz who work from the centers of multiple traditions, but who are in some ways artistically stateless because of the idiosyncratic natures of their poetic biographies

"Anne Waldman notes on the art of poetry alongside pastel drawings by t thilleman"--

Mark Spitzer lived a life of monstrous passion, continuous inspiration, and constant fascination; but at 57 years, it wasn't long enough. He published nearly forty books: most about fish and the environment, plus novels, memoirs, literary translations, creative writing pedagogy, and, of course, poetry. He was a creative writing professor at Truman State University in Missouri and the University of Central Arkansas where he designed and founded the Arkansas Writers MFA Workshop. He also edited the legendary Toad Suck Review, which evolved into the poetry series Toad Suck Éditions. Having lived in the American North, South, Midwest, and West, and having traveled as much of the world as possible, he spent the coda of his most epic poem (his own damn life) loving family and friends in historic Hyde Park, New York.

Christmas 2014: the self is admitted and both self and sister are then discharged after the New Year. We follow the daily life of the psychiatric ward and experience everything from toilet visits, medication, meals, sexual desires to the longing for the outside world.

If "the realm of the personal and sexual has always been literary for men [...] and confessional for women," as Lori Saint-Martin puts it, Marisa Crawford's Diary explodes the literary/confessional binary, pushing the limits of what it means to write a poem, a diary entry, a marketing copy block. A woman works, walks, and writes, traversing Midtown Manhattan on a lunch break from a corporate day job: like her predecessors Frank O'Hara and Clarissa Dalloway, she sweeps through streets and stores, navigating the entangled pleasures and horrors of city life in late capitalism. Family, literary, and personal histories of New York appear around every corner, braiding themselves into poems that glow with longing for this life and for all the others-in memory and fantasy-that shimmer behind it.¿¿

The lucid, tender poems in Ça Existe, Lauri Robertson's fifth collection from Spuyten Duyvil, continue to unfold as a series of musings that proceed, literally, from a tower in the Loire valley, the "Garden of France." From her new home, the poet as expatriate psychotherapist-in-retirement addresses the predicament of aging "Boomers" bearing witness to a brutally humanized but undying planet.

These are the poems we need in this human moment, at the sticky end of the pandemic. Goldman's transcendent vulnerability underscores how little we have, and how precious and resilient it is, after all.