From the author of MyOTHER TONGUE comes a new collection of prose poetry exploring the intergenerational inheritance of gendered violence. Rosa Alcalá choreographs language to understand the body as it “gathers itself over time to become whole,” recovering the speaker’s intuition while unraveling memory to pinpoint the aches, anxieties, and lessons of a woman's survival. Ruminating on daughterhood, mothering, and the body's cumulative wisdom, YOU traces a jagged line through fears and joys both past and present.

Poetry. Latino/Latina Studies. "Rosa Alcalá's poems dwell in the liminal space between the personal and the political—poems built on the idea that 'the world exists,' and that work to define the metaphysical and ephemeral architectures of origin, migration, nationalism, and loss. Rosa Alcalá is uncompromising, wry, and brutal: all of the qualities that significant poetic works of cultural criticism require."—Carmen Giménez Smith "'I want to know how everything changes with the price of admission,' writes Rosa Alcalá in her extraordinary new book. These poems begin at the exact point where 'the fundamental concepts of elementary navigation / become unhinged,' as they invent a new way of talking: developing tenuous and affectionate convergences between desire and fear, love and anger—even sex, money, tradition, and the history of appearances. It's all here. What fascinates Alcalá is precisely what animates her poetry: 'the mess of lost power,' compelled at once by contradiction and complicity, yet cleaving with an unsentimental eye and an inspiring wit."—Joshua Marie Wilkinson

Mumbai's textile industry is commonly but incorrectly understood to be an extinct relic of the past. In The Archive of Loss Maura Finkelstein examines what it means for textile mill workers—who are assumed not to exist—to live and work during a period of deindustrialization. Finkelstein shows how mills are ethnographic archives of the city where documents, artifacts, and stories exist in the buildings and in the bodies of workers. Workers' pain, illnesses, injuries, and exhaustion narrate industrial decline; the ways in which they live in tenements exist outside and resist the values expounded by modernity; and the rumors and untruths they share about textile worker strikes and a mill fire help them make sense of the industry's survival. In outlining this archive's contents, Finkelstein shows how mills, which she conceptualizes as lively ruins, become a lens through which to challenge, reimagine, and alter ways of thinking about the past, present, and future in Mumbai and beyond.

Poetic Encounters in the Americas: Remarkable Bridge examines the ways in which U.S. and Latin American modernist canons have been in cross-cultural, mutually enabling conversation, especially through the act of literary translation. Examining eighteen U.S. and Latin American poets, my book is one of the few works of criticism to present case studies in U.S. and Latin American poetries in dialogues that highlight the social life and imaginative encounters obtained through methodologies of translation and innovations in poetic technique.

The variety of contemporary American poetry leaves many readers overwhelmed. The critic, scholar, and poet Stephen Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, he presents 60 poems, each with an original essay explaining how the poem works, why it matters, and how it speaks to other parts of art and culture.

Since the 1990s, there has been unparalleled growth in the literary output from an ever more diverse group of Latinx writers. Extant criticism, however, has yet to catch up with the diversity of writers we label Latinx and the range of themes about which they write. Little sustained scholarly attention has been paid, moreover, to the very category under which we group this literature. Latinx Literature Unbound, thus, begins with a fundamental question “What does it mean to label a work of literature or an entire corpus of literature Latinx?” From this question others emerge: What does Latinx allow or predispose us to see, and what does it preclude us from seeing? If the grouping—which brings together a heterogeneous collection of people under a seemingly homogeneous label—tells us something meaningful, is there a poetics we can develop that would facilitate our analysis of this literature? In answering these questions, Latinx Literature Unbound frees Latinx literature from taken-for-granted critical assumptions about identity and theme. It argues that there may be more salubrious taxonomies than Latinx for organizing and analyzing this literature. Privileging the act of reading as a temporal, meaning-making event, Ralph E. Rodriguez argues that genre may be a more durable category for analyzing this literature and suggests new ways we might proceed with future studies of the writing we have come to identify as Latinx.

Poetics of Social Engagement emphasizes the ways in which innovative American poets have blended art and social awareness, focusing on aesthetic experiments and investigations of ethnic, racial, gender, and class subjectivities. Rather than consider poetry as a thing apart, or as a tool for asserting identity, this volume's poets create sites, forms, and modes for entering the public sphere, contesting injustices, and reimagining the contemporary. Like the earlier anthologies in this series, this volume includes generous selections of poetry as well as illuminating poetics statements and incisive essays. This unique organization makes these books invaluable teaching tools. A companion website will present audio of each poet's work. Poets included: Rosa Alcalá Brian Blanchfield Daniel Borzutzky Carmen Giménez Smith Allison Hedge Coke Cathy Park Hong Christine Hume Bhanu Kapil Mauricio Kilwein Guevara Fred Moten Craig Santos Perez Barbara Jane Reyes Roberto Tejada Edwin Torres Essayists included: John Alba Cutler Chris Nealon Kristin Dykstra Joyelle McSweeney Chadwick Allen Danielle Pafunda Molly Bendall Eunsong Kim Michael Dowdy Brent Hayes Edwards J. Michael Martinez Martin Joseph Ponce David Colón Urayoán Noel

The story to be written -- Missing -- At Hobby Lobby -- Dear María -- Voice activation -- Heritage speaker -- My body's production -- Offering -- Purity & danger: a performance -- This is not the end of my film career -- The 11th day of Occupy Wall Street -- Natural disaster: a dream -- Mother, monster: a lecture -- Questionnaire -- Projection -- Trace of lovers -- Paramour -- Getting around the subject -- Dear stranger -- Pedagogy: a dream -- Training -- Visitors log -- Archaeology of vestments -- Mise en garde -- Voice: an essay -- Ghost song.

Poetry/Performance. Latino/Latina Studies. Art. Edited by Rosa Alcala. SPIT TEMPLE collects texts and transcriptions of Vicuna's uncategorizable improvised performances, which combine singing, movement, chants, and stories. Also included are a critical introduction by Rosa Alcala, a poetic memoir by Vicuna (translated by Alcala) addressing her life

The debut of an astonishing new literary talent, Rain proves that its author, Kirsty Gunn, is already a master of her craft. Written in luminous prose and embroidered with sensuous imagery, Rain is an unforgettable novel. Twelve-year-old Janey and her younger brother, Jim spend summers at a lake with their parents. Ignored for long stretches and then called upon suddenly to mix drinks or receive drunken kisses, the children huddle together in tender, compulsive closeness. Nourished only by their devotion to one another, the two fill their neglected hours exploring the lush, dangerous landscape and protecting each other from the unpredictable moods of the dark adult world that surrounds them. A haunting, beautifully rendered story that explores the hidden dangers of childhood, Rain has established Kirsty Gunn as one of the most promising and original writers of her generation.