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A complex and multifaceted reckoning with literary and cultural lineage, Mike Lala s The Unreal City locates our moment, and reimagines what we might make of it, by subjecting the history of literature to a radical dâetournement.

Poetry. Dan Beachy-Quick has produced six collections of solo or collaborative poetry and a unique prose companion to Moby Dick. In the process, this amazingly productive writer has become recognized as one of the nation's most exciting dramatists of the mind in ferment, and of our urgent and ongoing connections with a tradition that extends back to the origins of literature. After a series of book-length poems, Beachy-Quick's new volume is as carefully structured as a suite of chamber music pieces, yet made of distinctly individual poems. "Dan Beachy-Quick's splendid new collection reveals the echoes between the measure of verse and the measure of time.... CIRCLE'S APPRENTICE vividly reminds us that all our human life may be marked by ritual but it is returned to us through song"--Susan Howe.

"Every poem in April at the Ruins is a powerhouse: rich, quietly essential, profoundly lucid. Many have flavors of the best parables or folk tales, bringing us into intimate relation with mysteries and transformations abounding around and inside us. The book's title accurately encapsulates Raab's role as negative capability ninja, evoking both spring's beginnings and the flotsam and jetsam of endings. Opposite possibilties and alternative scenarios thrive side by side within the marvelous, snow-globe-like worlds of his poems: what did happen or what might have, the questionable nature of revelation, the slipperiness of the stories we tell ourselves, how we live suspended between death and utter loveliness. Raab's sense of irony is unerring. These poems prove that one of the only true forms of consolation is giving darkness its due. -- Amy Gerstler"--

Trekking from the U.S. to the Caribbean and Canada- wind at their back, ear to the ground, listening for "the logos of what trembles underfoot"- the poems in Music For Exile syncretize a host of lyrical, received and invented forms to beckon a "mythic assemblage," an aggregation of personal and historical losses, intimate and en masse. From walking up Canefield River to hearing a thief on the stairs in Philadelphia, from dredging the voices of New England's enslaved to confronting familial grief, these poems trouble the ache, that "ironic hunger for home" when home is itself a vortex of violence. In poems of place, poems of encounter, domestic epics and epistolary calls, deGannes allows both the narrative and associative to limn the caesurae in one immigrant woman's arc. The poems trace and retrace, they crossover, they "draw poison out" they "fissure desire" and proclaim "no one can say gone is gone," enacting and inviting an expansive reckoning of all that has brought us here. From this, might be salvaged a radical sense of belonging, Glissant's "knowledge of the Whole, greater for having been at the abyss." Music For Exile is Nehassaiu deGannes' first book-length collection of poems.

"This collection considers what it means to be a queer nonbinary daughter in search of mother and myth as refuges. Inhabiting and breaking inherited forms like the sonnet, the speaker rewrites mythology to find new possibilities of queer transformation within inherited traditions--in which bodies not only change to trees and deer to escape the cishet male gaze, but also break the gaze itself. Intimate lyrics chart the interior landscape of the speaker's asexuality and aromanticism and explore the queered nuances of body and of platonic friendships. In the process, the book explores the mother wound of how these myths are inherited and what it means to create a new story, a new vocabulary, a new kind of breaking"--

"Rewild is a collection of documentary lyric poetry that explores places that, having been ravaged by war and environmental plunder, have since been abandoned to regenerate and restore. At this moment where we find ourselves in the Anthropocene, the poems hover between ruin and restoration. They open ways we can ask transformative questions and turn ourselves into these questions that begin to tunnel through difficulty and despair into "another spreadsheet than human ... chromosomal and intricate". To begin to unbuy ourselves, to rewild our communal lives"--

Poetry. Winner of the Tupelo Press/Crazyhorse Award for an Outstanding First Book selected by Carol Ann Davis. THE FOREST OF SURE THINGS is a layered sequence of poems set in a remote, historic village at the tip of a peninsula on the Northwest Coast, near where Lewis and Clark encountered the Pacific. A pair of newlywed drifters has arrived and settled there, starting the town's first new family in a hundred years. When their second child is stillborn, the bereft family unravels and un-roots themselves. Megan Snyder-Camp's poems reveal--like the shoreline exposed by a neap tide--an emotional landscape pressed upon and buckling under the complications of grief and the difficulties of language.

Poetry. LGBT Studies. Winner of Tupelo Press's Snowbound Chapbook Award selected by Dana Levin. Stacey Waite's THE LAKE HAS NO SAINT is a study in grief--a work of poetic archaeology that traces the artifacts of the past into the relationships of the present. Embedded in a powerfully modulated sequence addressing a "you" who shifts in location and identity, many of these poems feel like forms of request, imploring. The speaker's androgynous self-awareness--and wary attention to the gendered assumptions elicited by bodies--disclose in each poem a recognizable but disorienting (and pressurized) situation. THE LAKE HAS NO SAINT will unsettle a reader's sense of the certainty and stability of gender, as grammar and phrasing are also disrupted and blurred, often requiring us to read closely to hear where one sentence ends as another begins. Yet despite its formal and thematic iconoclasm, this is a book that clearly elucidates a story both heart-rending and ultimately--in its vatic honesty--triumphant.

"The Nail in the Tree narrates Carol Ann Davis' experience of raising two sons in Sandy Hook, Connecticut, on the day of and during the aftermath of the shooting there. Part memoir, part art-historical treatise, these meditations lead her to explore crucial subjects, including whether childhood can itself be both violent and generative, the possibility of the integration of trauma into daily life and artistic practice, and the role of the artist."--

"In brief paragraphs that are neither prose nor prose poems, we meet a witness. A speaker who is not in her country of origin. A woman living in the air of violence. Militarization. And very occasionally, a mundane gesture-adding sugar to tea. The spareness creates a poetics that is, at once, elegantly stark and akin to journalism. We read between the lines because what is unsaid, makes this a poetry of image and association. What was once a broom for sweeping a kitchen, is used by a woman to sweep propaganda leaflets off the street. I find myself engaged in a place-to a place, really-where there are ballistic helmets. Yes, strange and strangely familiar. This is how art and dreams work: with the familiarity of knowing and the disassociation that can allow insight." -- from the Judge's Citation by Kimiko Hahn Why Misread a Cloud takes its name from clouds of ash and smoke in wartime which appear to the author as a "storm, blown over the sea." Both an exploration of the mind's ability to turn what is into something else, in order to survive, and the mind's ability to resist the effects of psychosocial warfare--imposed by the military and the police. "Who wants you to be afraid" the poet's friend asks as he "added sugar to his tea." The realization this question brings enables the poet to explore forces that separate us from one another and ways we rise up within ourselves to move through fear toward love.

Poetry. BABEL'S MOON eulogizes an immigrant grandfather, and in doing so explores boundaries that are at once geographic, historical, and cosmological. Brandon Som's first book moves between vigorously detailed descriptive poems and austere, atmospheric lyrics as he finds new ways of reaching for (and even crossing) the horizons."In BABEL'S MOON...Som demonstrates a stunning musical perceptiveness on a global scale.... I trust in his weird and delightful imaginings of the moon, cactus, kites, and the origins of tea. And he carries this responsibility well, '...because the opaque, in its refusing / of the light, affords us reflection.' What a sparkling debut!"--Aimee Nezhukumatathil

"In Rohan Chhetri's Lost, Hurt, or in Transit Beautiful,? inherited literary forms- the ode, the lyric, and pristine tercets- are juxtaposed with gorgeously fractured and stylistically daring hybrid pieces. The end result is a work in which poetic technique is brought to bear on lingering questions of identity, artistic tradition, and the cruelty implicit in language itself. Here, form, grammar, and syntax function as a kind of containment, but also, a 'ruined field' that is rife with possibility. Chhetri dramatizes and resists the ways language, and its implicit logic, limit what is possible within our most solitary reflections, defining even those 'vague dreams' that in the end we greet alone. 'This is how violence enters / a poem,' he explains, 'through a screen / door crawling out & Mother asleep on the couch.' These pieces are as lyrical as they are grounded, and as understated as they are ambitious. 'In my language, there is a name for this music,' he tells us. As his stunning collection unfolds, Chhetri reminds us, with subtlety and grace, that the smallest stylistic decisions in poetry are politically charged. This is a haunting book."-from the Judge's Citation by Kristina Marie Darling

The poems in Bed, many written during prolonged bed rest, examine how life's interruptions-illness or new motherhood, loss or lust-can lead us to intimate revelations with others and with our selves. We spend much of our lives in bed-it is a border, a boundary, a haven, and a trap-and the poems in Bed confront and question the very limits of body and mind. In dream and waking, in sickness and sex, in marriage and birth, in grief and death, the bed is a space that can either mark time or transcend it, a place of perpetual becoming and reinvention. Here is a body trying to remember pleasure amidst the material of suffering, a language trying to keep up with a love that begins before speech. The bed in Bed is often an absent center-a missing mind-around which intimacy must dance. Maybe it is the wanted child. Maybe it is the mourned self. Maybe it is your mind these poems must be tucked into to be kept or come alive.

Nemerov's Door is a testament to what matters most in Robert Wrigley's life: love, nature, wild country, music, and poetry. In his youth, Robert Wrigley had little interest in poetry; you even could call it an active disinterest. Then, at the age of twenty-one, after being drafted into the army during the Vietnam War, after receiving an honorable discharge on the grounds of conscientious objection, and feeling otherwise adrift, he took a class in poetry writing, and that class altered the trajectory of his life. Nemerov's Door is the story of a distinguished and widely celebrated poet's development, via episodes from his life, and via his examinations of some of the poets whose work has helped to shape his own. Essays on James Dickey, Richard Hugo, Etheridge Knight, Howard Nemerov, Sylvia Plath, and Edwin Arlington Robinson are interwoven with essays about the sources of poetry: arrowheads; wild rivers; and the lyrics of a song from My Fair Lady, among other things. In the essay about Richard Hugo, Wrigley engages with a single poem by his great mentor, whose influence on Wrigley and many other poets of his generation has been enormous. "The Music of Sense" extrapolates from Frost's notion of the "sound of sense," and fuses it with Hugo's notion that the poet, forced to choose between music and meaning, must always choose music. As though to offer his own proof of that notion, one of Wrigley's other essays here is a poem. In all, the book, described by Joe Wilkins of the High Desert Journal, "is as generous and wise a book as I've read in a long, long time."

"Going where most readers have never been--past the workshop door, behind the curtain to the hidden rehearsal space, and into the back room of a pawn shop or dealer's office--Gregory Spatz's book delves deeply into the world of those who build, play, and sell (or steal) violins. This is a realm of obsession, of high-stakes sales and thefts, and of rapturous but also desperate performance escapades. Dense with detail, and peopled with a fabulously particular (yes, eccentric) ensemble cast, the linked pieces [here]--two of novella length, and two stories--have the intense force and beauty of chamber music"--Paul Harding.

Yes Thorn abides with mysteries-mortality, sexuality, divinity, and love. In poems acoustically sumptuous and with acrobatic syntax, Amy Munson fuses elegant lyricism with tougher, sterner qualities. YES THORN brings a new voice to American poetry, and its revelations are both earthy and exalting.

In his foreword to Stone Lyre, Nancy Naomi Carlson's previous collection of René Char translations, Ilya Kaminsky praised "the intensity, the dream-like language, the gravity of tone, and the constant impression that one is reading not words in the language, but sparks of flames."Stone Lyre was a selection of poems from Char's numerous volumes of poems; Carlson's new Hammer with No Master is a discrete and continuous work, the first English translation of Char's Le marteau sans maître, first published in 1934 - a time of rumbling menace that our time resembles.

On the anniversary of D-Day in 1974, after joining a prestigious Wall Street law firm, Michael Cullen learns that one of his new partners may be a Nazi sympathizer. Cullen is forced to deal with this utterly unexpected issue as it resounds within the firm and, eventually, within his personal life. The novel explores the internal dynamics of a law firm as it addresses - and avoids - the conflicting values and ambitions of its partners. And it forcefully addresses the tension between a lawyer's sense of obligation to pursue justice and the obstacles to that pursuit thrown up by human nature and frailty.--

Gorgeous poetry of avid appetites, winner of the 2016 Sunken Garden Poetry Award.

The financial complexities we face in retirement can be daunting. The landscape of Social Security, Medicare, insurance, benefits, investments, and planning for long-term care presents many choices, challenges, and opportunities. The Complete Cardinal Guide gives you the tools you need to understand how to make informed decisions that are right for you. The purpose of this book is to guide you through the major retirement options that retirees face. It explains simple and effective strategies you can put in place now, with the help of professionals, to make your retirement financially successful. Author and founder of Cardinal Retirement Planning Hans "John" Scheil, a Certified Financial Planner(TM) (CFP(R)) and Chartered Advisor for Senior Living (CASL(R)), calls upon his 40 years of experience in the business to answer the following questions in depth, and he illustrates each with real-life stories: At what age should I start receiving my Social Security check?, What's the best way to supplement my Medicare coverage?, Can I receive long-term care and stay at home? How do I afford it?, How should I handle my IRA and/or 401k accounts?, What's a smart investment strategy for financing my retirement years?, How do my income taxes change after I retire?, What if I live longer than my retirement savings last?, What's the best way to transfer my life insurance and other assets to my children and grandchildren?, How do I ensure my survivors are OK after I die?, How should I approach choosing financial and legal professionals to help me plan my retirement?

"Harry Waitzman is an American original." -- Thomas Lux. "Harry Waitzman writes clean, well crafted, accessible poems. I admire the plainly spoken, unadorned poem and that's what Waitzman consistentlty offers his readers." -- Martha Rhodes. "In his best poems Harry Waitzman's a kind of surreal Jewish boulevadier[.]" -- Mark Doty

The Tupelo Press 30/30 Project, begun as a creative approach to fundraising, has burgeoned into a community. Each month, volunteer poets run the equivalent of a "poetry marathon," writing 30 poems in 30 days, rough drafts that are posted daily online, the poets sponsored and encouraged every step of the way. This anthology comprises the best of those drafts, now revised, from the 30/30 Project's first year.

Korea continues to grapple with the shared memory of its Japanese and US occupations. The poems in Ordinary Misfortunes incorporate actual testimony about cruelty against vulnerable bodies-including the wianbu, euphemistically known as "comfort women"-as the poet seeks to find places where brutality is overcome through true human connections. Emily Jungmin Yoon asks Why do we write poems amid such violence? What can I, and what can poetry, do? Her response to those tough questions is a sequence of reverberating poems that blend documentary precision with impassioned witness, bringing to bear both scholarship and artistry.

Literary Nonfiction. Multi-genre literary master Baron Wormser's new book is about people from the mid-twentieth century whose lives created ripple effects beyond their individuality. Including electrifying portraits of Rosa Parks, Hannah Arendt, Miles Davis, Audrey Hepburn, Willem de Kooning, among others, these are not conventional "biographical" essays. Wormser has created a molten, multi-dimensional prose that brings a reader into the visceral presence of these human catalysts.

The poems in Mario Chard's first collection follow three entangled strands - a contemporary immigrant story, echoes of the Fall in Paradise Lost, and meditations on fatherhood in the shadow of Abraham's command to sacrifice a son. The poet speaks from the American hemisphere, immersed in histories of loss from long before Magellan first glimpsed his tierra del fuego. This Land of Fire is close at hand though we try and insist upon its distance, like the sun, like Milton's Pandemonium, like the wars outside our borders or within.

Shahr-e-jaanaan sets out to recreate the universe of Urdu and Persian poetic tradition, its tropes both lenses and mirrors for the speaker's reality. As she maps her romances onto legends, directing their characters perform her own tragedy, their fantastical metaphors easily lend themselves to her fluctuating mental state. Cycling between delirious grandeur and wretched despair, she is torn between two selves- the pitiable lover continually rejected, and the cruel, unattainable beloved comparable in her exaltation to a god. Shahr-e-jaanaan explores, interrogates, and distorts these dichotomies and their symbolism, calling into question the forces that elevate some to divinity even as they damn others to injustice and oppression.

Literary Nonfiction. Spiritual improvisations, radiant acts of attention: echoing Thoreau's Walden, the meditations of Guy Davenport, and Kenny Moore's groundbreaking articles for Sports Illustrated, Thomas Gardner strides through inner and outer landscapes. Freed by disciplined effort, the runner's mind here roams and mourns and remembers.

"The Many Deaths of Inocencio Rodriguez chronicles an obsession with the 1971 unsolved murder of Rocha's grandfather while interrogating the true crime genre, tabloid culture, immigrant identity, the phenomena of missing and murdered women, troubled relationships with law enforcement, and the intersection of prose and poetry. Because the details of his death were (and are) terribly unclear, part of how the family reconstructed him was to share the different accounts heard over the decades, and this collection attempts to pin down these shifts and contours through destabilizing form and genre. Each speaker reconfigures a past mysterious and tenuous, clouded by distance, language, and time in order to demonstrate how Inocencio Rodriguez defies a single narrative"--