A striking, shapeshifting volume from "one of the most fascinating female poets of our time (BOMB)." Inspired by her encounter with Dr. Chevalier Jackson’s collection of ingested curiosities at Philadelphia’s Mütter Museum, Kimiko Hahn’s tenth collection investigates the grip that seemingly insignificant objects exert on our lives. Itself a cabinet of curiosities, the collection provokes the same surprise, wonder, and pangs of recognition Hahn felt upon opening drawer after drawer of these swallowed, and retrieved, objects—a radiator key, a child’s perfect attendance pin, a mother-of-pearl button. The speaker of these moving poems sees reflections of these items in the heartbreaking detritus of her family home, and in her long-dead mother’s Japanese jewelry. As Hahn remakes the lyric sequence in chains reminiscent of the Japanese tanka, the foreign bodies of the title expand to include the immigrant woman’s trafficked body, fossilized remains, a grandmother’s Japanese body. She explores the relationship between our innermost selves and the relics of our vanished past, making room for meditation on grief and the ephemeral nature of the material world, for the account of a nineteenth-century female fossil hunter, and for a celebration of the nautilus. Foreign Bodies investigates the power of possession, replete with Hahn’s electric originality and thrilling mastery of ever-changing forms.

For Kimiko Hahn, the language and imagery of science open up magical possibilities for the poet. In her haunting eighth collection inspired by articles from the weekly "Science" section of the New York Times, Hahn explores identity, extinction, and survival using exotic tropes drawn from the realms of astrophysics, mycology, paleobotany, and other rarefied fields. With warmth and generosity, Hahn mines the world of science in these elegant, ardent poems.from "On Deceit as Survival"Yet another species resemblesa female bumble bee,ending in frustrated trysts--or appears to be two fractious maleswhich also attracts--no surprise--a third curious enough to join the fray.What to make of highly evolved Beautybent on deception as survival--

A collection of over thirty poems by American poet Kimiko Hahn in which she explores her various identities.

Winner of the 2018 Yale Series of Younger Poets prize How can a search for self‑knowledge reveal art as a site of community? Yanyi’s arresting and straightforward poems weave experiences of immigration as a Chinese American, of racism, of mental wellness, and of gender from a queer and trans perspective. Between the contrast of high lyric and direct prose poems, Yanyi invites the reader to consider how to speak with multiple identities through trauma, transition, and ordinary life. These poems constitute an artifact of a groundbreaking and original author whose work reflects a long journey self‑guided through tarot, therapy, and the arts. Foregrounding the power of friendship, Yanyi’s poems converse with friends as much as with artists both living and dead, from Agnes Martin to Maggie Nelson to Robin Coste Lewis. This instructive collection gives voice to the multifaceted humanity within all of us and inspires attention, clarity, and hope through art-making and community.

This breakthrough volume by award-winning poet Kimiko Hahn is her most rigorously "female" work to date as she reclaims the female body and reinvents an ancient Chinese correspondence. Mosquito and Ant refers to the style in which nu shu--a nearly extinct script used by Chinese women to correspond with one another--is written. Here in this exciting and totally original book of poems the narrator corresponds with L. about her hidden passions, her relationship with her husband and adolescent daughters, lost loves, and erotic fantasies. Kimiko Hahn's collection takes shape as a series of wide-ranging correspondences that are in turn precocious and wise, angry and wistful. Borrowing from both Japanese and Chinese traditions, Hahn offers us an authentic and complex narrator struggling with the sorrows and pleasures of being a woman against the backdrop of her Japanese-American roots.

Reproduction of the original: A Child’s Garden of Verses by Robert Louis Stevenson

A striking, shapeshifting volume from "one of the most fascinating female poets of our time (BOMB)." Inspired by her encounter with Dr. Chevalier Jackson’s collection of ingested curiosities at Philadelphia’s Mütter Museum, Kimiko Hahn’s tenth collection investigates the grip that seemingly insignificant objects exert on our lives. Itself a cabinet of curiosities, the collection provokes the same surprise, wonder, and pangs of recognition Hahn felt upon opening drawer after drawer of these swallowed, and retrieved, objects—a radiator key, a child’s perfect attendance pin, a mother-of-pearl button. The speaker of these moving poems sees reflections of these items in the heartbreaking detritus of her family home, and in her long-dead mother’s Japanese jewelry. As Hahn remakes the lyric sequence in chains reminiscent of the Japanese tanka, the foreign bodies of the title expand to include the immigrant woman’s trafficked body, fossilized remains, a grandmother’s Japanese body. She explores the relationship between our innermost selves and the relics of our vanished past, making room for meditation on grief and the ephemeral nature of the material world, for the account of a nineteenth-century female fossil hunter, and for a celebration of the nautilus. Foreign Bodies investigates the power of possession, replete with Hahn’s electric originality and thrilling mastery of ever-changing forms.

In this groundbreaking collection of poems, Sacrament of Bodies, Romeo Oriogun fearlessly interrogates how a queer man in Nigeria can heal in a society where everything is designed to prevent such restoration. With honesty, precision, tenderness of detail, and a light touch, Oriogun explores grief and how the body finds survival through migration.

"You must write a self/ out of waiting/ to speak" asserts Alina Ștefănescu's Dor and oh, what a prismatic, many-headed self has been written into existence within these pages. In her stunning second full-length collection, Ștefănescu explores the worlds contained in the Romanian word Dor- a word close to longing but with no exact English equivalent-as it relates to the speaker's life as a daughter, a mother, a foreign body in a country that harms and holds us conditionally. Simultaneously tender and incisive, witty and full transformations, this book and its many ecosystems of longing and belonging begs to be re-read and promises new wonders each time. - Jihyun Yun, author of Some Are Always Hungry In one of the beautiful poems in the collection, Dor, Alina Ștefănescu writes of a "heart shaped like a shovel." Indeed, Ștefănescu's heart unearths the rich mysteries of an amalgam of Romanian and southern American culture in language deeply shadowed but attentive to the most telling of details. This is a collection that twists form and content into poems that are by turns tender or incendiary, or both. - Erin Coughlin Hollowell, author of Every Atom Alina Ștefănescu's Dor is a compendium of desire, displacement, longing, and belonging. While the word "dor" itself "serves as a bridge which creates its own territory from fusion," here Stefanescu's words do their own act of bridging the spaces between the body and language. In these poems, tongues, like nations, have borders; nouns and verbs come alive with ownership and agency. Part genealogy of influences, part meditation on love, lust, and loss, and part pointed feminist critique, Dor is a multi-faceted collection that creates a newly textured landscape of language. - Emily Holland, author of Lineage and editor of Poet Lore Looking at what makes her heart soar with Dor, Alina Ștefănescu leads us through undilluted layers of loss, love, time, language and identity, showing that "the verb for longing in Romanian is a mouth." The condensed nature of the poems and their wordplay invite the reader into a world of sensation and memory where language shifts and blooms, filling mouth and eyes with delight, where, "any body is a bow, tuned to tremble." - Clara Burghelea, author of The Flavor of the Other Some of the most complicated and haunting songs live inside these poems: nocturnes and fugues, the humming of wordless lullabies, birds who "sing in unpredatored darkness," and most significantly, the doina-a traditional Romanian folk song of intense longing. That longing charges and electrifies this book: an attempt to hold the uncontainable, to name the unnamable, to translate an emotion that can't quite be translated from one language to another. From inside these uncharted spaces, Alina Ștefănescu gifts us with this moving collection and all its rare, disquieting music. - Matthew Olzmann, author of Contradictions in the Design "And what is memory / if not fondled ache..." From the Romanian Republic of Alabama, "where longing is /a homeland", Alina Ștefănescu's Dor sings us back to the forgotten, the lost, the silences we hold and grow; here we learn, "looking back is a way of looking within." These are poems that bruise in the way they remind us we are alive. The book will singe your fingertips, show the life you are sewn into, feed you missing language, and cut through the deep-fake of not feeling. As the poet reminds us, "The danger is not dying but living in exile from / longing." - Amelia Martens, author of The Spoons in the Grass Are There to Dig a Moat

Winner of the 2016 Whiting Award One of Publishers Weekly's "Most Anticipated Books of Spring 2016" One of Lit Hub's "10 must-read poetry collections for April" “Reading Vuong is like watching a fish move: he manages the varied currents of English with muscled intuition. His poems are by turns graceful and wonderstruck. His lines are both long and short, his pose narrative and lyric, his diction formal and insouciant. From the outside, Vuong has fashioned a poetry of inclusion.”—The New Yorker "Night Sky with Exit Wounds establishes Vuong as a fierce new talent to be reckoned with...This book is a masterpiece that captures, with elegance, the raw sorrows and joys of human existence."—Buzzfeed's "Most Exciting New Books of 2016" "This original, sprightly wordsmith of tumbling pulsing phrases pushes poetry to a new level...A stunning introduction to a young poet who writes with both assurance and vulnerability. Visceral, tender and lyrical, fleet and agile, these poems unflinchingly face the legacies of violence and cultural displacement but they also assume a position of wonder before the world.”—2016 Whiting Award citation "Night Sky with Exit Wounds is the kind of book that soon becomes worn with love. You will want to crease every page to come back to it, to underline every other line because each word resonates with power."—LitHub "Vuong’s powerful voice explores passion, violence, history, identity—all with a tremendous humanity."—Slate “In his impressive debut collection, Vuong, a 2014 Ruth Lilly fellow, writes beauty into—and culls from—individual, familial, and historical traumas. Vuong exists as both observer and observed throughout the book as he explores deeply personal themes such as poverty, depression, queer sexuality, domestic abuse, and the various forms of violence inflicted on his family during the Vietnam War. Poems float and strike in equal measure as the poet strives to transform pain into clarity. Managing this balance becomes the crux of the collection, as when he writes, ‘Your father is only your father/ until one of you forgets. Like how the spine/ won’t remember its wings/ no matter how many times our knees/ kiss the pavement.’”—Publishers Weekly "What a treasure [Ocean Vuong] is to us. What a perfume he's crushed and rendered of his heart and soul. What a gift this book is."—Li-Young Lee Torso of Air Suppose you do change your life. & the body is more than a portion of night—sealed with bruises. Suppose you woke & found your shadow replaced by a black wolf. The boy, beautiful & gone. So you take the knife to the wall instead. You carve & carve until a coin of light appears & you get to look in, at last, on happiness. The eye staring back from the other side— waiting. Born in Saigon, Vietnam, Ocean Vuong attended Brooklyn College. He is the author of two chapbooks as well as a full-length collection, Night Sky with Exit Wounds. A 2014 Ruth Lilly Fellow and winner of the 2016 Whiting Award, Ocean Vuong lives in New York City, New York.