One Fierce Hour is Alfian Sa’at’s first and breakout work. It was hailed as ‘truly a landmark’ for Singaporean poetry when it was published in 1998 when the poet was just 21 years old. Since, then it has been kept in print and has entered the list of canonical anthologies of Singapore literature. The collection contains the anti-anthem “Singapore You Are Not My Country” written well before social media gave voice to dissent and different views of Singapore. Alfian remains an intelligent writer with an unabashedly social and political voice. He has written 37 plays, 3 works of prose and 2 poetry anthologies.

This collection of essays is the culmination of a symposium on the representation of Malays and Malay culture in Singaporean and Malaysian literature in English held in Universiti Putra Malaysia.

Unapologetic, unafraid and unyielding, Alfian’s second collection of verse delves in greater depth the concerns in his first volume and moves into reclaiming our collective history and memory. In mining our psyche, he casts light where whispers and shadows lurk. He draws inspiration from censored histories, subsumed myths and invokes imagined voices from the exiled, demanding of the reader to witness the ubiquitous ideological fictions that surround us. This is one of the most dissonant and penetrating voices in Singapore poetry. • A History of Amnesia is listed in the notable books list by the Kiriyama Pacific Rim Book Award (administered by University of San Francisco). • A History of Amnesia is also shortlisted for Singapore Literature Prize in 2004.

"Blue Hour is an elusive book, because it is ever in pursuit of what the German poet Novalis called 'the [lost] presence beyond appearance.' The longest poem, 'On Earth,' is a transcription of mind passing from life into death, in the form of an abecedary, modeled on ancient gnostic hymns. Other poems in the book, especially 'Nocturne' and 'Blue Hour,' are lyric recoveries of the act of remembering, though the objects of memory seem to us vivid and irretrievable, the rage to summon and cling at once fierce and distracted. "The voice we hear in Blue Hour is a voice both very young and very old. It belongs to someone who has seen everything and who strives imperfectly, desperately, to be equal to what she has seen. The hunger to know is matched here by a desire to be new, totally without cynicism, open to the shocks of experience as if perpetually for the first time, though unillusioned, wise beyond any possible taint of a false or assumed innocence." -- Robert Boyers

This collection is a beautifully crafted exploration of life in the Texas-Mexico borderlands. Written by Norma Elia Cantú, the award-winning author of Canícula, this collection carries the perspective of a powerful force in Chicana literature—and literature worldwide. The poems are a celebration of culture, tradition, and creativity that navigates themes of love, solidarity, and political transformation. Deeply personal yet warmly relatable, these poems flow from Spanish to English gracefully. With Gloria Anzaldúa’s foundational work as an inspiration, Meditación Fronteriza unveils unique images that provide nuance and depth to the narrative of the borderlands. Poems addressed to talented and influential women such as Gwendolyn Brooks and Adrienne Rich, among others, pour gratitude and recognition into the collection. While many of the poems in Meditación Fronteriza are gentle and inviting, there are also moments that grieve for the state of the borderlands, calling for political resistance.

Robert Lowell, with Elizabeth Bishop, stands apart as the greatest American poet of the latter half of the twentieth century—and Life Studies and For the Union Dead stand as among his most important volumes. In Life Studies, which was first published in 1959, Lowell moved away from the formality of his earlier poems and started writing in a more confessional vein. The title poem of For the Union Dead concerns the death of the Civil War hero (and Lowell ancestor) Robert Gould Shaw, but it also largely centers on the contrast between Boston's idealistic past and its debased present at the time of its writing, in the early 1960's. Throughout, Lowell addresses contemporaneous subjects in a voice and style that themselves push beyond the accepted forms and constraints of the time.

Sometimes compact, sometimes expansive, the poems in Ghost Hour emanate from adolescence and other liminal spaces, considering girlhood and contemporary womanhood—the ways both are fraught with the pleasures and limits of embodiment. As in her previous poetry, Laura Cronk writes personally, intimately, yet never without profound consideration of onslaught of contemporary violence, which we must love in spite of and rage against.

If Fancy Nancy got angry. Really, really angry. Millie is quiet. Millie is sweet. Millie is mild. But the kids at school don't listen to her. And she never gets a piece of birthday cake with a flower on it. And some girls from her class walk right on top of her chalk drawing and smudge it. And they don't even say they're sorry! So that's when Millie decides she wants to be fierce! She frizzes out her hair, sharpens her nails and runs around like a wild thing. But she soon realizes that being fierce isn't the best way to get noticed either, especially when it makes you turn mean. So Millie decides to be nice--but to keep a little of that fierce backbone hidden inside her. In case she ever needs it again. With bright art and an adorable character, it's easy to empathize with Millie. Because everyone has a bad day, once in a while. Praise for MILLIE FIERCE “Millie Fierce is a delightfully naughty mix between Maurice Sendak’s Where the Wild Things Are and Molly Bang’s When Sophie Gets Angry.”--School Library Journal

Beautifully translated from the Dutch by David Colmer, the IMPAC Award-winning translator of Gerbrand Bakker’s The Twin, Hugo Claus’s poems are remarkable for their dexterity, intensity of feeling, and acute intelligence. From the richly associative and referential “Oostakker Poems” to the emotional and erotic outpouring of the “mad dog stanzas” in “Morning, You,” from his interpretations of Shakespeare’s sonnets to a modern adaptation of a Sanskrit masterpiece, this volume reveals the breadth and depth of Claus’s stunning output. Perhaps Belgium’s leading figure of postwar Dutch literature, Claus has long been associated with the avant-garde: these poems challenge conventional bourgeois mores, religious bigotry, and authoritarianism with visceral passion.

My name is Lucie Blaise.I am sixteen years old.I have many aliases, but I am none of the girls you see.What I am is the newest recruit of Covert Ops.And we are here to take down Hitler.After the Nazis killed my brother on the North African front, I volunteered at the Office of Strategic Services in Washington to do my part for the war effort. Only instead of a desk job at the OSS, I was tapped to join the Clandestine Operations--a secret espionage and sabotage organization of girls. Six months ago, I was deployed to German-occupied France to gather intelligence and eliminate Nazi targets.My current mission: Track down and interrogate a Nazi traitor about a weapon that threatens to wipe out all of Western Europe. Then find and dismantle the weapon before Hitler detonates it. But the deeper I investigate, the more danger I'm in. Because the fate of the free world hangs in the balance, and trusting the wrong person could cause millions of lives to be lost. Including my own.