In this debut collection, Voodoo Inverso, Mark Wagenaar composes a startling mystical imagism and sets it to music, using self-portraits to explore differing physical and spiritual landscapes. He uses a variety of personae—a victim of sex trafficking in Amsterdam, a fichera dancer, a portrait haunted by Dante, a carillonneur of starlight, an elephant in pink slippers remembering its beloved—to silhouette the intricacies and frailties of the body and the world. In a series of “gospels” and “histories”—such as the poems “History of Ecstasy” and “Moth Hour Gospel”—he shines a light on the possibilities of transcendence and transfiguration, weaving together memory and loss with desire and hope.

By analysing the complex issues surrounding internal and cross-border human trafficking in Asia, and asserting critical perspectives and methodologies, this book extends the range of sites for discussion and sectors in which human trafficking takes place. The book re-centres human trafficking as an area of legitimate academic inquiry in a region that is often considered as an epicentre for human trafficking: East and Southeast Asia. It thus offers an in-depth analysis and up-to-date knowledge on research methodologies and engagements, patterns and forms of human trafficking, constructively critiquing anti-trafficking campaigns and discourses, and offering examples of good practice within the region that help us move beyond the impasse that currently hampers human trafficking as a field of inquiry in the social sciences. Providing constructive avenues for human trafficking research to proceed methodologically, theoretically and ethically, this book is of interest to students and scholars of Politics, International Relations and Southeast Asian Studies.

This book explores women’s stories of agency in a lived experience of trafficking. The idea of agency is a difficult concept to fathom, given the unscrupulous acts and exploitative practices which define trafficking. In response to the ‘3-P’ anti-trafficking paradigm – to prevent and protect victims and prosecute traffickers – official discourse constructs agency in singular opposition to victimhood. The ‘true’ victim of trafficking is reified in attributes of passivity and worthiness, whereas signs of women’s agency are read as consent in their own predicament or as culpability in criminal justice and immigration rule-breaking. Moving beyond the official lack or criminal fact of agency, this collection of stories adds knowledge on agency constructed with, on, and by, women possessing a trafficking experience. Based on the stories of twenty-six women, agency is seen to exist in relationship to women’s victimisation under trafficking. Exploring well-being agency (women’s physical safety and economic needs), and agency freedom (women’s capacity to construct choices and the conditions affecting choice), women demonstrate agency in their identity, decision making, and actions. Acknowledging the existence of a migration-crime-security nexus in contemporary human trafficking, the narratives of fifteen anti-trafficking professionals highlight how official actions mediate women’s achievement of well-being and agency freedoms. This book will be of interest to students undertaking courses in modern slavery, human trafficking, human geography, police studies, social work, and criminology.

Tin House is an award-winning literary magazine that publishes new writers as well as more established voices; essays as well as fiction, poetry, and interviews.

This debut collection of poetry explores pain and longing, vulnerability, and the illness of Crohn's disease, leavened by moments of quiet humor and hope.

This poetry collection is the record of an American’s return home after a decade abroad, an exile imposed solely because he loved another man. In a virtuoso display of lyric and formal inventiveness, Bellin-Oka’s poems meditate on the myriad losses engendered by diaspora: of home, family and sexual identity, and spiritual certainty. “Steve Bellin-Oka’s poems hold in balance an intensified language and a passionate voice that bring together the struggles of the inner life with stark realities. This is a book of arresting authenticity.”—Peter Balakian, Pulitzer-Prize winner and judge

An unsentimental and at times disquieting first collection, the poems of About Crows excavate self, family, race, location, sex, art, and religion to uncover the artifacts of a succession of traumas that the speaker does not always experience firsthand but carries with him to refashion into some new importance. This is a book of half-states, broken affiliations, and dislocation. The speaker leads the reader through the fragments of a flooded town that grows increasingly elusive the more one looks for it; through a succession of Seoul "love motels" that further displace the outsider to unclaimed margins transformed into sites of creative invention; through "galleries" of artwork, where movement, color, and image are renewed through ekphrasis; and through the world of the metatextual long poem "The Cult Poem," where good and bad moral binaries tangle into a rat's nest of our best and worst spiritual ambitions. The poems and sequences of About Crows are marked by their artistic balance of the sublime and the profane, of polyphony, syntactical complexity, clashing images, cagey humor, and unsettling sincerity, all trying desperately to connect.

In his third collection, the award-winning author crafts poems that “reckon with the sins of history and the human-made scars on the natural world” (Beth Ann Fennelly, Poet Laureate of Mississippi). Winner of the 2016 Benjamin Saltman Poetry Award, Southern Tongues Leave Us Shining explores the South and its history through the eyes of the living, the dead, and the inbetween. “The songs of Charles Wright, Rilke, and Blind Willie Johnson have tuned Wagenaar’s ear, but the music is his own, irresistibly so. Southern Tongues Leave Us Shining is a brave and difficult grappling, ending with the difficult joy of a child’s birth and the world’s subsequent remaking. This is, simply put, poetry that adds to the glory of the human endeavor.” —Beth Ann Fennelly, author of Heating & Cooling “In Southern Tongues Leave Us Shining, there is a rapturous beauty that encompasses the American South, the United States, and the world, a poetic rooted in the space around the poet and extending outward to the world with questioning, compassion, grief, and hope.” —Afaa M. Weaver, winner of the Kingsley Tufts Poetry Award “The speaker searches constantly for evidence of God’s presence in the world. It is a book of doubt just as much as it is a book of faith. Indeed, doubt threatens, at every line break, to wrest faith from the speaker’s hands. But books of doubt are books of faith, and Southern Tongues understands this.” —Los Angeles Review of Books

Vols. 277-230, no. 2 include Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.