"Borderland Apocrypha is centered around the collective histories of Mexican lynchings following the signing of the Treaty of Guadalupe Hidalgo in 1848, and the subsequent erasures, traumas, and state-sanctioned violences committed towards communities of color in the present day. Cody's debut collection responds to the destabilized, hostile landscapes and silenced histories via an experimental poetic that invents and shapeshifts in both form and space across the margin, the page, and the book's axis in a resistance, a reclamation and a re-occupation of what has been omitted. Part autohistoria, part docupoetic, part visual monument, part myth-making, Borderland Apocrypha exhumes the past in order to work toward survival, reckoning, and future- building"--

Poetry. Latino/Latina Studies. "If poetic episodes can act as gauges of social role-playing and role-disruption, what might lie 'outside' the roles 'we' 'inhabit?' What remains undocumented, but hardly silent? What are the sensed and projected traces of 'identity' that are ideologically eviscerated, and minimally verifiable? Rosa Alcala calls up a most magical theater when exploring these quandaries. The tipping (flash) points she constructs continuously build up toward the (touched, handled, engaged) experiential moment, all the while resisting an object-status art. This is a poetics that's prologue + epilogue to incidence, and never the 'it' itself. Sweet tin on tawny brass, flesh-toned, radio-worthy"--Rodrigo Toscano.

Huron, Ontario, Michigan, Erie, Superior: HOMES. Moheb Soliman traces the coast of the Great Lakes with postmodern poems, exploring the natural world, the experience of belonging, and the formation of identity along borders. Moheb Soliman’s HOMES maps the shoreline of the Great Lakes from the rocky North Shore of Minnesota to the Thousand Islands of eastern Ontario. This poetic travelogue offers an intimate perspective on an immigrant experience as Soliman drives his Corolla past exquisite vistas and abandoned mines, through tourist towns and midwestern suburbs, seeking to inhabit an entire region as home. Against the backdrop of environmental destruction and a history of colonial oppression, the vitality of Soliman’s language brings a bold ecopoetic lens to bear on the relationship between transience and belonging in the world’s largest, most porous borderland.

From undocumented men named Angel, to angels falling from the sky, Natalie Scenters-Zapico’s gripping debut collection, The Verging Cities, is filled with explorations of immigration and marriage, narco-violence and femicide, and angels in the domestic sphere. Deeply rooted along the US-México border in the sister cities of El Paso, Texas, and Cd. Juárez, Chihuahua, these poems give a brave new voice to the ways in which international politics affect the individual. Composed in a variety of forms, from sonnet and epithalamium to endnotes and field notes, each poem distills violent stories of narcos, undocumented immigrants, border patrol agents, and the people who fall in love with each other and their traumas. The border in Scenters-Zapico’s The Verging Cities exists in a visceral place where the real is (sur)real. In these poems mouths speak suspended from ceilings, numbered metal poles mark the border and lovers’ spines, and cities scream to each other at night through fences that “ooze only silt.” This bold new vision of border life between what has been named the safest city in the United States and the murder capital of the world is in deep conversation with other border poets—Benjamin Alire Saenz, Gloria Anzaldúa, Alberto Ríos, and Luis Alberto Urrea—while establishing itself as a new and haunting interpretation of the border as a verge, the beginning of one thing and the end of another in constant cycle.

The poems in Plume are nuclear-age songs of innocence and experience set in the "empty" desert West. Award-winning poet Kathleen Flenniken grew up in Richland, Washington, at the height of the Cold War, next door to the Hanford Nuclear Reservation, where "every father I knew disappeared to fuel the bomb," and worked at Hanford herself as a civil engineer and hydrologist. By the late 1980s, declassified documents revealed decades of environmental contamination and deception at the plutonium production facility, contradicting a lifetime of official assurances to workers and their families that their community was and always had been safe. At the same time, her childhood friend Carolyn's own father was dying of radiation-induced illness: "blood cells began to err one moment efficient the next / a few gone wrong stunned by exposure to radiation / as [he] milled uranium into slugs or swabbed down / train cars or reported to B Reactor for a quick run-in / run-out." Plume, written twenty years later, traces this American betrayal and explores the human capacity to hold truth at bay when it threatens one's fundamental identity. Flenniken observes her own resistance to facts: "one box contains my childhood / the other contains his death / if one is true / how can the other be true?" The book's personal story and its historical one converge with enriching interplay and wide technical variety, introducing characters that range from Carolyn and her father to Italian physicist Enrico Fermi and Manhattan Project health physicist Herbert Parker. As a child of "Atomic City," Kathleen Flenniken brings to this tragedy the knowing perspective of an insider coupled with the art of a precise, unflinching, gifted poet. Watch the book trailer: https://www.youtube.com/watch?v=3iSaR9mfeeM

This true story of a concubine and the Gold Rush years “delves deep into the soul of the real old west” (Erik Larson). “Once the discovery of gold at Sutter’s Mill launched our ‘national madness,’ the population of California exploded. Tens of thousands of Chinese, lured by tales of a ‘golden mountain,’ took passage across the Pacific. Among this massive influx were many young concubines who were expected to serve in the brothels sprouting up near the goldfields. One of them adopted the name of Polly Bemis, after an Idaho saloonkeeper, Charlie Bemis, won her in a poker game and married her. For decades the couple lived on an isolated, self-sufficient farm near the Salmon River in central Idaho. After her husband’s death, Polly came down to a nearby town and gradually spoke of her experiences. Journalist Christopher Corbett movingly recounts Polly’s story, integrating Polly’s personal history into the broader picture of the history of the mass immigration of Chinese. As both a personal and social history, this is an admirable book.” —Booklist “A gorgeously written and brilliantly researched saga of America during the mad flush of its biggest Gold Rush. Christopher Corbett’s genius is to anchor his larger story of Chinese immigration around a poor concubine named Polly. A tremendous achievement.” —Douglas Brinkley “Uses Bemis’s story as a platform for a larger discussion about the hardships of the Chinese experience in the American West.” —The Washington Post

The Naming of Cats is a difficult matter, It isn't just one of your holiday games; You may think at first I'm as mad as a hatter When I tell you, a cat must have THREE DIFFERENT NAMES. The first poem in Eliot's Old Possum's Book of Practical Cats is a brilliant introduction to the fabulous world of Cats, featuring names such as Bombalurina and Munkustrap - made famous by the recent film! The seventh gorgeous Cats picture book with lively and colourful illustrations by Arthur Robins. Perfect for reading aloud, singing or performing!

A collection of epistolary poems that exorcises and explores the material violence and generational trauma of colonization and systemic racism stored within queer Latinx memory. In DESGRACIADO, Angel Dominguez navigates a visceral constellation of language and memory, illuminating the ongoing impacts of misremembered and missing histories, and their lasting impacts. Dominguez unravels a critical and tender language of lived experience in letters addressed to their ancestral oppressor, Diego de Landa, (a Spanish friar who attempted to destroy the written Maya language in Mani Yucatán, on July 12th 1562), to articulate an old rage, dreaming of a futurity beyond the wreckage and ruin of the colonial imaginary. This collection doesn't seek to heal the incurable wound of colonization so much as attempt to re-articulate a language towards recuperation.

Grounded by a rigorously innovative attention to form, The Real Horse offers a testament to and reminder of a daughter's disobedience to cultural patrimony.

Gamaliel, the sensitive, spiritually-minded grandson of the great Hillel and teacher of Saul, was a leading and influential figure in the days of Jesus. Many were the students who flocked to listen to his words of wisdom, to learn of tolerance, of common sense, and of the love of one God. It is of such a man that Gerald Heard writes--a man who was a thousand years ahead of his age. Woven around historically accurate facts, the story is written as Gamaliel's journal about Jesus and the early Christian movement. First by hearsay, then through friends, and finally by encounter with Jesus of Nazareth himself, Gamaliel learned of this vitalizing, dynamic teaching of love as a way of life. With the account of Peter and Paul's meeting in Jerusalem the author concludes this unique presentation, which gives new insight into the life and teachings of Jesus and a clear delineation of Gamaliel, a heretofore shadowy personality of the first century era.