Poetry. "William Waltz will take me through 'the buzz and clamor in a forest of hearts.' ADVENTURES IN THE LOST INTERIORS OF AMERICA is an adventure, I will goon this adventure with Waltz as a skillful, faithful, compass-true guide. I love this book." James Tate"

Poetry. Women's Studies. "In a dish of fevered poppies, glassy ranunculus, and red tide hunger, the daughter infects herself. She's infected by self, burning up until McMullin's cool hand runs across the DAUGHTERRARIUM's viral waters. Cancer, the crab, a sunrise that won't clot. The neogothic daughter, her many manifestations bleed together in this prize-winning jailbreak. She says t]ake me out of this bed and put me back in the grass, but really she's taking us. Out, back. Give her your hand or get out of her way." --Danielle Pafunda "What are we born into? What does it mean to be loved by God and Earth? What do we owe and to whom? How does one experience the fusion of anger and shame in a mind and body? What do the doctors say to the bodies that are broken? Where do the bodies go when they are taken away from themselves? How does a body heal itself? How does a body degrade itself? How does a body mourn and survive the trauma of fear, pain and abuse? I admire DAUGHTERRARIUM for pushing too far, for making me cringe with its representations of what one human can do to another, of what a body can do to itself. McMullin takes a tenacious look at violence and the abject while also interrogating, with great compassion, the nature of faith, family and growth." --Daniel Borzutzky "'There are those who have hurt you not because you are ignorant, but because you have a heart.' Sheila McMullin's DAUGHTERRARIUM is a collection of the kindest rage I have ever seen. The book chronicles, among its tendernesses, McMullin's refusal to turn the rage onto herself--'How not to blame myself for being fragile?'--and the difficulty of locating what is hurting us, or why, and how to heal a wound that is constantly re-opened. If you believe in rage, if you care deeply about women, then read this brilliant book again and again across your lifetime. Otherwise, 'You have to get out of the way.'" --Sarah Vap

Matthew Zapruder picks the poems for the 2022 edition of The Best American Poetry, “a ‘best’ anthology that really lives up to its title” (Chicago Tribune). Since 1988, The Best American Poetry series has been “one of the mainstays of the poetry publication world” (Academy of American Poets). Each volume presents a selection of the year’s most brilliant, striking, and innovative poems, with comments from the poets themselves lending insight into their work. For The Best American Poetry 2022 guest editor Matthew Zapruder, whose own poems are “for everyone, everywhere...democratic in [their] insights and feelings” (NPR), has selected the seventy-five new poems that represent American poetry today at its most dynamic. Chosen from print and online magazines, from the popular to the little-known, the selection is sure to capture the attention of both Best American Poetry loyalists and newcomers to the series. The series and guest editors contribute valuable introductory essays that illuminate the current state of American poetry.

Adventure Time, Nickelodeon, and Don't Hug Me I'm Scared meet in this wonderfully strange and funny adventure of two best friends. With its distinctive, comic strip–like art style and lighthearted, off-the-wall concept, this chapter book is a breath of fresh air for brand-new readers! Dog and Hat are two of the best friends you could ever hope to meet—they are practically inseparable. When the dots on Dog's favorite shirt get lost down a storm drain, it's up to him and Hat to wander through the twisting underbelly of the city to find them. As they navigate a labyrinth of sewers, they encounter a dark but exciting new world, unforeseen dangers, and help in unexpected places. Magic, humor, and curiosities abound in this story of a daringly weird dynamic duo that is sure to have adventurous young readers thrilled to be along for the ride. TOTALLY UNIQUE: The illustrations for this book are like nothing you've seen before! The loose, exaggerated style, bright, popping colors, and unconventional character design evoke 1990s cartoons and Sesame Street. Kids will delight in this playfully absurd book that's meant just for them. A FRIENDSHIP STORY: Dog and Hat are irresistible, charming characters, but it's the dynamic between them that truly shines. They are refreshingly supportive and affectionate, and they know each other in ways only best friends can. Readers will love getting to know this lovably strange duo as they work together, no matter what life throws at them! COMIC BOOK APPEAL: Kids familiar with comic books and graphic novels will feel right at home with this comic book–inspired story! It's bright, graphic, and sure to hold the reader's attention. IT'S A SERIES: Get ready for book two! This is just the first Dog and Hat adventure. Perfect for: • Kids who are fans of comics and graphic novels • New readers looking for a quirky, unique story • Fans of Nickelodeon and/or Adventure Time • Illustration and art fans

Poetry. Women's Studies. Winner of the 2016 CSU Poetry Center Open Book Prize. "IN ONE FORM TO FIND ANOTHER is an heroically unsettling and compelling textual reenactment of feminine embodiments' lament, contemplation and recalibration of disturbed histories irrevocably intertwined with traumatic experience. In intense, palpable language, Lewty lays bare the somatic registers of complex and fraught circumstances that cling to the body as sensory framework, muscle memory and 'non-bearing loads.' This momentous and powerful book evokes feminist theory and practice, psychoanalytic discourse, and unflinching lyric to render the inscrutable territory of trauma tangible and perceptible. With each nuanced register Lewty cultivates a body politic of powerful disclosure and release." --Brenda Iijima "This is how we feel: the body remembers what the mind wants to forget. Inexplicable physical symptoms--indirect translations of traumatic past events--are rendered into language on medical message boards. In turn, these poems are mysterious lexical symptoms that connect words to feeling. Lewty's book is an inventory of intensity." --Jena Osman "'The past is not gone, but here, hectic, impatient.' IN ONE FORM TO FIND ANOTHER presents the meditative poem as agitated case study or transforms case studies into exquisite poetry, opening the question of what it means, now, to attempt to know. Wise about the many ways we are 'dismantled by memory and want, ' overwhelmed by inadequate explanations, and restlessly looking for a way to tell the dancer from 'a trance-state where you stop and turn, correct and rebuild, ' the poet returns us to writing's origin as address ('Dear Grapheme'), involving her reader intimately in the making of meaning. In this collection one form of memory (traumatic, embodied) is used to build a dwelling 'wherein attachment can occur.' I am in love with Lewty's lyric brilliance and attracted to this book as 'I am attracted to any real place...'" --Laura Mullen

Poetry. If you—your charismatic, beautifully erotic self—had died young, your ghost would count itself fortunate to have lived, loved, and flamed-out in the company of the wildly imaginative author of VOW. But it's not just ghosts who find themselves envisioned, en-fabled, sometimes horrifically, in these poems: An ex-husband, ex-lovers, and dear friends also populate these questioning, often darkly humorous lyrics. Like them, the future unsettles you because you have taken vows, too, and broken them. Take heart, you hold in your hands the poetic manual for how to proceed.

Poetry. "Lizzie Harris's debut collection, STOP WANTING, crafts images and lines of such arresting splendor that I am very often driven to joy at the feats of beauty and healing that language is capable of bringing into being." Tracy K. Smith"

Poetry. 2015 CSU Poetry Center First Book Competition, Editor's Choice. "Martin Rock's RESIDUUM spins language into twinned helices of what is said and what is taken back, layering micro- and macroscopic images of bodies in love and space and history. It might make you a little dizzy. It might be contagious or reproducing. It might ask you to glimpse at the moments when you try to speak truly and find your words coming out all infected and in debt. It is a love poem as Williams' Asphodel is a love poem. It is spectacular and leaves me with a head encircled by stars." Heather Christle "In RESIDUUM, Martin Rock creates the illusion of an enormous mind always in motion. 'Meditating on the peak of a mountain last year / years ago // I held all the universe inside my skull, ' it informs us, suggesting both the intimacy and vastness of its vision. At times, these poems appear to live beyond the range of any individual, as if Emerson's Oversoul spoke directly to, and through, us though just as quickly they become intimate and humane, whispering softly into our ears. Always, Rock's observations, subtractions, and revisions fascinate, disrupting any clean, centered view of the world, replacing it with brilliant abstraction." Kevin Prufer "Martin Rock's remarkable debut collection, RESIDUUM, takes on nothing less than making the unsayable (as Heidegger perceives it) 'legible.' I find the partial erasure form of this book dynamic, and lyrically fluid. RESIDUUM is also moving, and genuinely funny in many spots. For all its critical engagement and thoughtfulness, it never loses the necessary, bodily pulse. Rock's is a wonderful new voice to encounter, a poet who takes from several different canons within our poetic tradition and makes something utterly his own from them." Erin Belieu "In our culture where composition largely resides between blinking cursors and revision is often an act of deletion, Martin Rock's impressive debut collection, RESIDUUM, announces itself like a command to 'Save.' Language is not just the words that we use but everything that has been reconsidered, replaced, evolved, or ignored to get us here. Sometimes, that language comes via the intense privileges of gender, race, or class. Other times it can be a more earned catalog of allusion and emotions. These lyrics compositions of image and additive subtraction are earned and owe as much to Robert Rauschenberg as they do Martin Heidegger. And because of that, Rock's collection is a visual and allusory opportunity for the reader: the word bank is open, the questions are asked, and the answers are here in poems that are both unexpected and fascinating." Adrian Matejka"