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In his second book of poems, Ahmad Almallah seeks a language that captures the afterlives of the mother tongue. This collection blurs the borders between languages, between the living and the dead, between presence and absence.The poems of BORDER WISDOM break and mourn physical borders at the same time. Here the exilic idea of a return to a home is expressed in the daily return to the blank page in search of a poem. In these returns the body brushes against the past and, as Hart Crane puts it, taps into "that memory all things nurse."

"Monica McClure's second poetry collection excavates inheritances--historical, cultural, familial, and economic--as it alternates between magnified and microscopic views of American life."--back cover

Poet Claire DeVoogd's first book explores what happens to speech, history, and the future when approached from an imagined position after ending--after after--charting a path from an unreal "before" to modernity.

In WHAT JUST HAPPENED, Richard Hell's new poems are interspersed with images created for the book by Christopher Wool. Hell's 2019 valedictory of an essay, "Falling Asleep," which asserts his dreamy conclusions regarding the nature of reality, and "Chronicle," a list drawn from his recent years' notebooks, complete the collection.Kentucky native Richard Meyers dropped out of high school and moved to New York to be a poet, but after a few years of writing and editing poems and pamphlets and literary magazines he decided--in 1972--to change his name to Hell and sing and write songs in a rock and roll band instead. He still wrote poems at times but didn't want to be seen as a "rock poet," so he underplayed that part of his story. After 10 years and the impact of "punk," which D.I.Y. movement Hell had a lot to do with triggering, he left music behind too, in favor of fiction and journalism. He hasn't published a proper book of new poems until now, 50 years later. Nearly all the poems in WHAT JUST HAPPENED were written during the 2020-2021 pandemic. The poems are accompanied by an essay on the subject of "Falling Asleep," which condition Richard proposes as being the closest humans get to a direct experience of reality, and the book closes with "Chronicle," an 88-entry list of observations, eruptions and goofs.Poetry. Essay.

"Originally published as 'The night of loveless nights (Anvers, 1930). Translation originally published as issue #10 of 'The ant's forefoot (New York, 1973)"--Colophon.

Blending ecopoetics, ghost story, and sci-fi thriller, Garth Graeper's first full-length collection imagines survival in a world where nature, time, and identity are unstable and predatory.Inspired by sources as wide-ranging as Tarkovsky's Stalker, the comic book character Swamp Thing, and Romantic visionary Dorothy Wordsworth, Graeper's first full-length collection abounds with transmogrifications. Teetering between intimacy and apocalypse, no body, or tree, or sound stays intact for long. No sooner exorcized from a ghostly possession in the Lake District, the reader is driven back into the water cycle, raining down from the sky to feed plants, or reawakened from a dream, trying to grasp a hand, to remember a face. In this ecosystem, where "caught between tall lilacs / bodies spill," green meadows offer less a bucolic backdrop than a site of aggressive reclamation. Propelled by terse language and thorn-sharp images, these poems blur lines between inside and out, challenge anthropocentric notions of self, and explore the volatile space between companionship and competition in an age of dwindling resources."The poems in The Sky Broke Moredocument the difficult work of listening and the powerful attunement it achieves--with our beloveds, with the natural world, with the dead. Graeper's taut lyric braids human and terrestrial sound and sensation--heartbeat and howling, voice and storm, breath and birdsong--into something both beautiful and unsettled: "a density of voices so absolute, you may hear it as silence."--Nancy Kuhl"In dreamlike, painterly lines, The Sky Broke Moredescribes a world that is dying and burgeoning all at once, where "sap and blood" mingle, and where 'one / pale blue flower / on the black / blooms.' Instead of finite endings, there are metamorphoses and--often painful--rebirths, while a terrible and wondrous hybridity holds sway. All is in flux but for one element: voice. In these urgent, deeply felt poems, the artistic urge is what buoys us, and lasts."--Laura Sims "Garth Graeper writes a beautiful, unsettling kind of nature poetry that can only be written by someone who digs into the dirt, tuning into the sounds, smells, textures and shapes of the natural world. What Graeper finds running through this natural world is a kind of sensory language: the world speaks to the poet with its 'tentacles of language.' It's a physical language, and it is often violent. The poems take place in nature's 'blood rain' and 'carnage, ' 'black marsh forcing/tongue/through tongue.' Graeper's poems are short but they are immersive, lively, and almost overwhelming."--Johannes Göransson"The earth of these poems is sincere and erotic, fraught with the unraveling of bodies in human damage, yet sounding to heal with each tone. Their care is impressive, and gorgeous. Insistently tactile, communicative, Graeper's 'wild need- / song' threads its ear through prose and verse with equal skill. As though holding Ceravolo to ear, the poet sounds (Dorothy) Wordsworth. Bring your heart close to the moss, travel the worm road, on tones beneath tones, 'holy mouth- / to-mouth from under / the mud.' Finding music in language, The Sky Broke Moreoffers gift of passage in dark times.--Jonathan SkinnerPoetry. Environmental Studies.

"IN MANY WAYS describes a self in process, at odds, and enthralled, in search of the origins of her unsatisfiable pursuit of meaning. The writerly drive to fix the fleeting moment comes up against a contradictory impulse to escape--through writing--the binds of formal codes and conventions."--