divIn Can Xue’s extraordinary book, we encounter a full assemblage of husbands, wives, and lovers. Entwined in complicated, often tortuous relationships, these characters step into each other’s fantasies, carrying on conversations that are “forever guessing games.” Their journeys reveal the deepest realms of human desire, figured in Can Xue’s vision of snakes and wasps, crows, cats, mice, earthquakes, and landslides. In dive bars and twisted city streets, on deserts and snowcapped mountains, the author creates an extreme world where every character “is driving death away with a singular performance.” Who is the last lover? The novel is bursting with vividly drawn characters. Among them are Joe, sales manager of a clothing company in an unnamed Western country, and his wife, Maria, who conducts mystical experiments with the household’s cats and rosebushes. Joe’s customer Reagan is having an affair with Ida, a worker at his rubber plantation, while clothing-store owner Vincent runs away from his wife in pursuit of a woman in black who disappears over and over again. By the novel’s end, we have accompanied these characters on a long march, a naive, helpless, and forsaken search for love, because there are just some things that can’t be stopped—or helped./DIV

These poems take a closer look at violence against women, both physical and psychological. Follow the intersection of fear, identity, and the malleability of the speaker’s own experiences of violence enacted on her by men, particularly a past partner. Imagistic and evocative, the poems ask how are we conditioned into living with violence, and how do we move forward?

"The book is composed of 62 poems selected from several of Ewa Lipska's books in which the figure Ms. Schubert appears. Ms. Schubert, a modern European everywoman, is the addressee in poems that read like brief, intimate communiqués between a man and a woman whose relationship over time interweaves a shared secret life with the historical domain of wars, extremist governments, shifting economies, languages (Polish, German, English), and technologies. Ms. Schubert, as recipient of these cryptic postcards, represents the poet's subtle call to her readers as we navigate our own historical moment-balancing sociopolitical action with the authentic love that can endure only between and among individuals"--

Justice Lonesome has enjoyed a life of bounty. Even so, she’s inherited the curse of the Lonesome. A poet’s soul. Which means she’s still searching for something. Searching for peace. Searching for the less…that’s more. And when the foundation of her life is pulled out from under her, grieving, she goes to the mountains to find her oasis. She hits Carnal, Colorado and decides to stay. Deke Hightower lost everything at the age of two. He lost it again at fifteen. His life has not been about bounty. It’s been about learning to live with less, because there’s no way to get more. Deke’s also watched all his friends go down to the women who gave them what they needed. He wants that for himself. But he knows that search isn’t going to be easy because he’s a rider. His home is the road. That’s the only place he can breathe. And the woman who takes her place at his side has to do it sitting on the back of his bike. When Deke meets Justice, he knows she’s not that woman. She’s cute. She’s sweet. And she’s into him, but she’s got it all and Deke knows he won’t fit into that. So he holds her at arm’s length. Establishes boundaries. And Justice will take it because she wants Deke any way he’ll let her have him. But when Justice finds herself a pawn in a dangerous game, Deke makes a decision. When he does, he has no idea he’s just opened himself up to bounty.

Chosen by Randall Mann as a winner of the Jake Adam York Prize, Brian Tierney’s Rise and Float depicts the journey of a poet working—remarkably, miraculously—to make our most profound, private wounds visible on the page. With the “corpse of Frost” under his heel, Tierney reckons with a life that resists poetic rendition. The transgenerational impact of mental illness, a struggle with disordered eating, a father’s death from cancer, the loss of loved ones to addiction and suicide—all of these compound to “month after / month” and “dream / after dream” of struck-through lines. Still, Tierney commands poetry’s cathartic potential through searing images: wallpaper peeling like “wrist skin when a grater slips,” a “laugh as good as a scream,” pears as hard as a tumor. These poems commune with their ghosts not to overcome, but to release. The course of Rise and Float is not straightforward. Where one poem gently confesses to “trying, these days, to believe again / in people,” another concedes that “defeat / sometimes is defeat / without purpose.” Look: the chair is just a chair.” But therein lies the beauty of this collection: in the proximity (and occasional overlap) of these voices, we see something alluringly, openly human. Between a boy “torn open” by dogs and a suicide, “two beautiful teenagers are kissing.” Between screams, something intimate—hope, however difficult it may be.

"Deep Salt Water is an intimate memoir about abortion, expressed through a layering of language and imagery of the ocean. The story gravitates around the reconnection and ongoing entanglements of a couple who'd had an abortion twenty years earlier. Interdisciplinary in nature and entre-genre in style, Deep Salt Water is organized as thirty-seven separate pieces, divided into three sections (or 'trimesters') that detail the couple's love affair and unwanted pregnancy; the abortion itself; their separation and tenuous reconnection; and the sorrowful, urgent attempt to come to terms with the abortion and its consequences. Included in its pages are two innovative elements-a series of collages by visual artist Catherine Mellinger and a section entitled the 'Afterbirth, ' which discusses environmental issues that informed Apostolides' writing and moves the book from a place of intense intimacy to an outward focus that engages with the broader world and our shared responsibility and hope."--

Fourteener mania, the phenomena characterized by a seemingly obsessive drive to summit The List of all fifty-four of Colorado¿s 14,000-foot peaks, is an older tradition than many may realize. Along with intensely positive experiences in climbing is the possibility of the opposite extreme¿to become stranded, severely injured, or even killed, in disturbingly easy ways. This book explores this dark side of climbing. When an accident happens on a 14er, the victim is far from help and in an environment where rescue is difficult at best. The book is full of hair-raising stories of these disasters and resue attempts and also aids in avoiding such disasters.

“Wonderfully written…Mr. Owen writes about water, but in these polarized times the lessons he shares spill into other arenas. The world of water rights and wrongs along the Colorado River offers hope for other problems.” —Wall Street Journal An eye-opening account of where our water comes from and where it all goes. The Colorado River is an essential resource for a surprisingly large part of the United States, and every gallon that flows down it is owned or claimed by someone. David Owen traces all that water from the Colorado’s headwaters to its parched terminus, once a verdant wetland but now a million-acre desert. He takes readers on an adventure downriver, along a labyrinth of waterways, reservoirs, power plants, farms, fracking sites, ghost towns, and RV parks, to the spot near the U.S.–Mexico border where the river runs dry. Water problems in the western United States can seem tantalizingly easy to solve: just turn off the fountains at the Bellagio, stop selling hay to China, ban golf, cut down the almond trees, and kill all the lawyers. But a closer look reveals a vast man-made ecosystem that is far more complex and more interesting than the headlines let on. The story Owen tells in Where the Water Goes is crucial to our future: how a patchwork of engineering marvels, byzantine legal agreements, aging infrastructure, and neighborly cooperation enables life to flourish in the desert—and the disastrous consequences we face when any part of this tenuous system fails.

Poetry. Women's Studies. Eroticism tinged with elegy, gratitude knit with doubt; MEET ME HERE AT DAWN contains an unmistakably open voice. Sophie Klahr's debut poetry collection careens from hunger to hunger. With lyric energy and narrative determination, the poems are missives sent back from a threshold, chronicling disease, the unspoken pains of family, the fabric of an extra-marital affair. "What aperture makes a woman?" Klahr asks in "One Slaughter." In MEET ME HERE AT DAWN, even the unanswerable is unfaltering, every question brightly wrought and necessary. "Sophie Klahr moves through the chambers of the mind and heart like an expert escape artist, keys hidden in the body's coverts are revealed in a 'rush of knowing, ' the body's 'first breaking and entering' that feels both clandestine and disclosive. This is poetry of immense vulnerability and fierce mettle; determined, convincing and heroically alive with courage of every kind."--D.A. Powell

t'ai freedom ford's second collection of poems is direct, ingenious, vibrant, alive, queer, and BLACK. & more black won the Lambda Literary Award in Lesbian Poetry in 2020 and was a finalist for the Kingsley Tufts Poetry Award.