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When Celia Canby—Kate’s niece, Bess’s mother, and Harriet’s cousin—is killed in a car accident, it’s up to Kate and Harriet to raise Bess. Ten years later, on the day of the accident, the local newspaper in Harvester, MN, dredges up the story of the accident for a careless "Way Back When" piece, subjecting the women to another round of grief. Kate, arthritic and stuck far away from the farm she loves, is concerned about Bess. Headstrong and closed off, Bess yearns to escape Harvester before she "goes bad." But when she begins to trace the same path of mistakes her mother made—a risky relationship with a local married man—everything seems on the verge of falling apart.In a novel that celebrates the power of what a woman can do, What A Woman Must Do asks timeless questions about love and loss: How does our history define us? How can we let go of it? Should we?

When acclaimed author Deni Béchard first learned of the last living bonobos—matriarchal great apes that are, alongside the chimpanzee, our closest relatives in the animal kingdom—he was completely astonished. How could the world possibly accept the extinction of this majestic species?Béchard discovered one relatively small NGO, the Bonobo Conservation Initiative (BCI), which has done more to save bonobos than many far larger organizations. Based on the author’s extensive travels in the Congo and Rwanda, this book explores BCI''s success, offering a powerful, truly postcolonial model of conservation. In contrast to other traditional conservation groups Béchard finds, BCI works closely with Congolese communities, addressing the underlying problems of poverty and unemployment, which lead to the hunting of bonobos. By creating jobs and building schools, they gradually change the conditions that lead to the eradication of the bonobos.This struggle is far from easy. Devastated by the worst military conflict since World War II, the Congo and its forests continue to be destroyed by aggressive logging and mining. Béchard''s fascinating and moving account—filled with portraits of the extraordinary individuals and communities who make it all happen offers a rich example of how international conservation must be reinvented before it''s too late.

About Issue 33 After a double issue in fall 2020 and a hiatus in the spring, issue 33 is a larger issue than normal, featuring a symposium on Ciaran Carson, five translations folios, and poetry, fiction, and nonfiction by established and emerging American writers. The issue includes: . A Symposium on Irish Poet Ciaran Carson, with appreciations by National Book Critics Circle Award winner Troy Jollimore, Guggenheim fellows Marianne Boruch and Connie Voisine, Forward Prize winner Stephen Sexton, NPR poetry commentator Tess Taylor, two-time NEA fellow Sandra Alcosser, Camargo Foundation Fellow Don Bogen, and Kavanagh Fellow Paul Perry. . Translation Folios featuring poetry by Italian poet Mariangela Gualtieri (translated by Olivia Sears), Mexican poet Verönica Gonzälez Arredondo (translated by Allison deFreese), and Polish poet Jerzy Jarniewicz (translated by Piotr Florczyk); ghost stories by 18th century Chinese fiction writer Ji Yun (translated by John Yu Branscum and Yi Izzy Yu); and an essay by Japanese postwar writer Endo¯ Shu¯saku (translated by Miho Nonaka). . Poetry by Guggenheim Fellows Dan Beachy-Quick and Marianne Boruch; NEA Fellows Sean Hill, Jason Koo, and Rachel Richardson; Jake Adam York Prize winner John McCarthy; Vassar Miller Prize winner Owen McLeod; Oregon Book Award winner Matthew Minicucci; two-time Lambda Literary Award winner Ellen Samuels; Lindquist & Vennum Prize winner Chris Santiago; Richard Wilbur Award winner Adam Tavel; Leia Darwish; Steven Espada Dawson; Emilia Phillips; Stephanie Rogers; Martha Silano; Roy White; and many others. . Fiction by Francine Ringold Award winner Sruthi Narayan, three-time Pushcart Prize winner Alan Michael Parker, Tyler Barton, Ariel Katz, Grey Wolfe LaJoie, Dan Leach, and Julian Zabalbeascoa. . Nonfiction by NEA Fellow Matthew Vollmer, Danielle Cadena Deulen & Shara Lessley, and Dustin Parsons. . The cover features work by Los Angeles-based artist Panteha Abareshi, whose work was written about in the New York Times in March 2021.

"In this remarkable debut, which marks the beginning of Multiverse-a literary series written and curated by the neurodivergent Hannah Emerson's poems keep, dream, bring, please, grownd, sing, kiss, and listen"--

Author is a writer and book critic who has been widely published in the New York Times, the Washington Post, the Los Angeles Review of Books, and the Huffington PostAuthor is a filmmaker who wrote, directed and produced the feature documentary The Song of the Little Road, starring Martin Scorsese and Ravi Shankar, which premiered at Sundance Film FestivalThe book's celebration of the wonders of the natural world, birds, and birding around the world, and its exploration of the immigrant experience will appeal to readers of Aimee Nezhukumatathil's World of Wonders, which has sold over 350K copies, as well as to readers of J. Drew Lanham's memoir The Home PlaceAccording to the U.S. Fish & Wildlife Services, more than 45 million people watch birds around their homes and away from their homes

In The Wanting Way, the second book in Multiverse-a literary series written and curated by the neurodivergent-Adam Wolfond proves more than willing to "extend the choreography."In fact, his entire thrust is out and toward. Each poem moves out along its own underutilized pathway, awakening unseen dimensions for the reader like a wooded night walk suddenly lit by fireflies. And as each path elaborates itself, Wolfond's guiding hand seems always to stay held out to the reader, inviting them further into a shared and unprecedented unfolding. The Wanting Way is actually a confluence of diverse ways-rallies, paths, waves, jams, streams, desire lines-that converge wherever the dry verbiage of the talking world requires hydration. Each poem is an invitation to bathe in the play of languaging. And each poem is an invitation to a dance that's already happening, called into motion by the objects and atmospheres of a more-than-human world. Wolfond makes space for new poetics, new choreographies, and new possibilities toward forging a consensual-felt and feeling-world where we might find free disassembly and assembly together. There is a neurodivergent universe within this one, and Wolfond's poems continuously pull back the unnecessary veil between human and nature.

It is 2027. August Helm is thirty years old. A biochemist working in a lab at the University of Chicago, he is swept off his feet by the beautiful and entirely self-assured Amanda Clark. Animated by August's consuming desire, their relationship quickly becomes intimate. But when he stumbles across a liaison between the director of his lab and a much younger student, his position is eliminated and his world upended. August sets out to visit his parents in Words, an unincorporated village in the heart of Wisconsin's Driftless Area. Here, he reconnects with several characters from his past: Ivan Bookchester, who now advocates for "new ways of living" in an age of decline; Hanh, formerly known as Jewelweed, who tends her orchard and wild ginseng, keenly attuned to new patterns of migration resulting from climate change and habitat destruction; and Lester Mortal, the aging veteran and fierce pacifist who long ago rescued her from Vietnam. Together, the old friends fall back into a familiar closeness. But much as things initially seem unchanged in the Driftless, when August is hired to look after Tom and April Lux's home in Forest Gate, he finds himself in the midst of an entirely different social set, made up of wealthy homeowners who are mostly resented by the poorer surrounding communities, and distanced in turn by their fear of the locals. August soon falls head over heels for April, and different versions of his self collide: one in which the past is still present in tensions and dreams, another in which he understands his desire as genetically determined and chemically induced, and then a vaguely hoped-for future with April. When Lester is diagnosed with liver cirrhosis, Ivan comes clean on a ghastly past episode, and April makes a shocking revelation, a series of events ensues that will change all involved forever.   As approachable as it is profound in exploring the human condition and our shared need for community, this is a story for our times.

Bold, passionate, and more urgent than ever, Debra Magpie Earlings powerful classic novel is reborn in this new edition.On the Flathead Indian Reservation, summer is ending, and Louise White Elk is determined to forge her own path. Raised by her Grandmother Magpie after the death of her mother, Louise and her younger sister have grown up into the harsh social and physical landscape of western Montana in the 1940s, where Native people endure boarding schools and life far from home. As she approaches adulthood, Louise hopes to create an independent life for herself and an improved future for her familybut three persistent men have other plans.Since childhood, Louise has been pursued by Baptiste Yellow Knife, feared not only for his rough-and-tumble ways, but also for the preternatural gifts of his bloodline. Baptistes rival is his cousin, Charlie Kicking Woman: a man caught between worlds, torn between his duty as a tribal officer and his fascination with Louise. And then there is Harvey Stoner. The white real estate mogul can offer Louise her wildest dreams of freedom, but at what cost?As tensions mount, Louise finds herself trying to outrun the bitter clutches of winter and the will of powerful men, facing choices that will alter her lifeand end anothersforever.

"Translated from the Arabic and introduced by Fady Joudah, You Can Be the Last Leaf draws on two decades of work to present the transcendent and timely US debut of Palestinian poet Maya Abu Al-Hayyat"--

""Bright Dead Things" examines the chaos that is life, the dangerous thrill of living in a world you know you have to leave one day, and the search to find something that is ultimately disorderly, and marvelous, and ours"--

Kalfus plucks individual lives from the stew of a century of Russian history and serves them up in tales that range from hair-raising to comic to fabulous. The astonishing title story follows a doomed nuclear power plant worker as he hawks a most unusual package on the black market -- a canister of weapons-grade plutonium. In "Orbit," the first cosmonaut navigates several items not on the preflight checklist as he prepares to blaze the trail for the new communist society, "floating free of terrestrial compromise." In "Budyonnovsk," a young man hopes desperately that the takeover of his town by Chechen rebels will somehow save his marriage. Set in the 1920s, "Birobidzhan" is the bittersweet story of a Jewish couple journeying to the Soviet Far East, where they intend to establish the modern world's first Jewish state. The novella, "Peredelkino," which closes the book, traces the fortunes of a 1960s literary apparatchik whose romantic intrigues inadvertently become political. Together, these works of fiction capture the famously enigmatic Russian psyche. They display Kalfus' ability to imagine a variety of believable yet wholly singular characters whose lives percolate against a backdrop of momentous events.

"Ask the Brindled, selected by Rick Barot as a winner of the 2021 National Poetry Series, bares everything that breaks between "seed" and "summit" of a life-the body, a people, their language. It is an intergenerational reclamation of the narratives foisted upon Indigenous and queer Hawaiians-and it does not let readers look away"--

Finalist for the 2023 Minnesota Book AwardA sublimely elegant, fractured reckoning with the legacy and inheritance of suicide in one American family. In 2009, Juliet Patterson was recovering from a serious car accident when she learned her father had died by suicide. His death was part of a disturbing pattern in her family. Her father‿s father had taken his own life; so had her mother‿s. Over the weeks and months that followed, grieving and in physical pain, Patterson kept returning to one question: Why? Why had her family lost so many men, so many fathers, and what lay beneath the silence that had taken hold?In three graceful movements, Patterson explores these questions. In the winter of her father‿s death, she struggles to make sense of the loss‿sifting through the few belongings he left behind, looking to signs and symbols for meaning. As the spring thaw comes, she and her mother depart Minnesota for her father‿s burial in her parents‿ hometown of Pittsburg, Kansas. A once-prosperous town of promise and of violence, against people and the land, Pittsburg is now literally undermined by abandoned claims and sinkholes. There, Patterson carefully gathers evidence and radically imagines the final days of the grandfathers‿one a fiery pro-labor politician, the other a melancholy businessman‿she never knew. And finally, she returns to her father: to the haunting subjects of goodbyes, of loss, and of how to break the cycle. A stunning elegy that vividly enacts Emily Dickinson‿s dictum to “tell it slant,â€? Sinkhole richly layers personal, familial, political, and environmental histories to provide not answers but essential, heartbreaking truth.

"Powerful and overdue . . . The hard and brilliant life breathing on [these] pages brought me to tears, to joy, and to grace." -TERESE MARIE MAILHOT, AUTHOR OF HEART BERRIES

Issue 34 Includes • Poetry Translation Folios with work by Guatemalan K’iche Maya poet Humberto Ak’ab’al, translated by Michael Bazzett; Lithuania superstar poet Tomaž Šalamun, translated by Brian Henry; Spanish poet Sandra Santana, translated by Geoffrey Brock; and Venezuelan poet-in-exile Jesüs Amalio, translated by David Brunson, Jr. Plus a Fiction Translation Folio with two stories by nternationally renowned Portuguese writer Sophia de Mello Breyner Andresen, translated by Alexis Levitin. • Poetry by National Book Critics Circle Award winner Ada Limón; Guggenheim Fellows Paul Guest and Mark Halliday; Ruth Lilly Fellow Marcus Wicker; William Carlos Williams Awardwinner Martha Collins; Rilke Prize winner David Keplinger; NEA Fellows Michael Bazzett, Brian Henry, Lance Larsen, Alex Lemon, Jenny Molberg, and Corey Van Landingham; as well as Kelli Russell Agodon, Abdul Ali, Sean Cho A., Michael Dumanis, Chanda Feldman, Melissa Ginsburg, Matty Layne Glasgow, Niki Herd, Alicia Mountain, Lis Sanchez, Indriani Sengupta, and many others. • Fiction by Madeline Haze Curtis, Maria Poulatha, Alyssa Quinn, Kate Weinberg, and Tara Isabel Zambrano. • Nonfiction by Brooke Barry and Robert Long Foreman. • The cover features a recent piece by Minneapolis-based artist Dyani White Hawk, whose work is in the collections of the Museum of Modern Art (MoMA), the Walker Art Center, the Crystal Bridges Museum of American Art, the Denver Art Museum, the Minneapolis Institute of Art, theSmithsonian National Museum of the American Indian, and elsewhere.

"e;Sometimes,"e; writes Michael Kleber-Diggs writes in this winner of the Max Ritvo Poetry Prize, "e;everything reduces to circles and lines."e;In these poems, Kleber-Diggs names delight in the same breath as loss. Moments suffused with love-teaching his daughter how to drive; watching his grandmother bake a cake; waking beside his beloved to ponder trumpet mechanics-couple with moments of wrenching grief-a father's life ended by a gun; mourning children draped around their mother's waist; Freddie Gray's death in police custody. Even in the refuge-space of dreams, a man calls the police on his Black neighbor.But Worldly Things refuses to "e;offer allegiance"e; to this centuries-old status quo. With uncompromising candor, Kleber-Diggs documents the many ways America systemically fails those who call it home while also calling upon our collective potential for something better. "e;Let's create folklore side-by-side,"e; he urges, asking us to aspire to a form of nurturing defined by tenderness, to a kind of community devoted to mutual prosperity. "e;All of us want,"e; after all, "e;our share of light, and just enough rainfall."e;Sonorous and measured, the poems of Worldly Things offer needed guidance on ways forward-toward radical kindness and a socially responsible poetics.

In "the story collection of the year" (Paper magazine), Ken Kalfus mines a vast terrain of geography and metaphor to create a stunning series of portraits of people caught in the seismic collision of cultures, be they real, hallucinated, dreamed, or desired. With his "magical, transformative, and captivating" (Boston Book Review) mix of fantasy and dark humor, Kalfus has crafted an extraordinary collection that is, by turns, hilarious, mysterious, and touching.