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Gibson's dynamic and timely new work is a energetic collection of stirring and introspective poetry. Hauntingly vivid, her poems deconstruct the current political climate through stunning imagery and careful crafting.
Sarah Coakley is one of the most exciting and creative figures in contemporary theology. Her far-reaching systematic vision of the Christian faith has integrated insights from systematic theology, gender studies, sociology, patristics, analytic philosophy of religion, and evolutionary biology. This integrated vision coheres around the mystical and contemplative core of Christian experience. In her challenging revisionary work on themes such as gender, sacrifice, desire, and the doctrine of the Trinity, Coakley reconnects theological reflection with its contemplative roots and pushes toward a new approach to systematic theological reflection. In Sarah Coakley and the Future of Systematic Theology, scholars explore Coakley’s multifaceted contribution to contemporary theology and consider the ways through which her work sets a new standard for systematic reflection on the Christian faith. This volume brings together, around Coakley’s work, a gathering of established and emerging scholars and asks critical questions of Coakley’s work as we await three further volumes of her systematic theology.
Popular in queer communities, anti-war organizations, college campuses and women/gender studies programs, Andrea Gibson's second book of poems, The Madness Vase's topics range from hate crimes to playgrounds, from international conflict to hometowns, from falling in love to the desperation of loneliness. Gibson's work seizes us by the collar and hauls us inside some of her darkest moments, then releases out the other side. Moments later, we find ourselves inhaling words that fill us with light. Their luminous imagery is a buoy that allows us to resurface from their world, clutching new possibilities of our own, and linger in our psyches and entreat us to action. They challenge us to grow into our own skin. By the time you finish reading The Madness Vase, you too will believe, "Folks like us/We've got shoulder blades that rust in the rain/But they are still G-sharp/Whenever our spinal chords are tuned to the key of redemption/So go ahead world/Pick us/To make things better."
World renowned performer and top-selling author and two-time National Slam Poetry Champion, Anis Mojgani has combed through out-of-print editions to put together Songs From Under the River, a best-of collection for his third Write Bloody release. Popular poems (Some with over 200,000 "Likes" on YouTube) such as "Direct Orders", "Shake the Dust", "Here Am I" and more, are collected here alongside lost poems, favorite poems and new unpublished works. The book showcases what audiences have come to expect from Anis—uplifting words, playful surrealism, and the journey through imagination. Songs From Under the River allows fans and new readers alike the chance to follow the trajectory of Anis' development, themes, and style of work over his 15 year career.
Dive bars, gas stations, bedrooms, and snowfields comprise the setting as the speaker asks: What do we feel? What should we feel? Who gets to feel what? In his moving debut collection, Jackson Burgess examines heartbreak, depression, and empathy through a lens of rigorous introspection. Atrophy’s poems vary in location, mostly between Los Angeles and Iowa City, with reoccurring characters serving as touchstones, forming the book’s narrative. Much of the collection is about or directly addresses an ex-lover, Lily. In the wake of that failed relationship, Atrophy wrestles with loneliness, substance abuse, and dissociation, utilizing lists, letters, prose poems, and free verse. These poems celebrate the past while mourning it, armed with the advantage of retrospect. Prescription drugs, dog fights, dance parties, love letters, and ghosts—the world depicted is at times dark, at times humorous, but always human. Atrophy is vulnerable and cinematic, a series of manic meditations exploring what it means to love and be loved, to hurt and be hurt.
A beautiful exploration of grief by one of the top selling poets in America. Anis Mojgani's In the Pockets of Small Gods explores what we do with grief, long after the initial sadness has faded from our daily lives: how we learn to carry it without holding it, how our joy and our pain touch, and at times need one another. His latest collection of poetry touches on many kinds of sorrow, from the suicide of a best friend to a broken marriage to the current political climate. Mojgani swings between the surreal imagery and direct vulnerability he is known for, all while giving the poems a direct frankness, softening whatever the weight may be. A book of leaves and petals as opposed to a book of stones, In the Pockets of Small Gods encapsulates the human experience in a way that is both deeply personal and astoundingly universal.
Look, the future is all telepathy and disappointment and pretending we haven't always been winging it. Every day we're the strongest we'll ever be. What doesn't kill you hasn't killed you yet. From Greek mythology to Top 40, Pavlov to Sartre, the space station to the zoo, "Everyone I Love is a Stranger to Someone" collides dark humor and unexpected sweetness.
MultiVerse does for superheroes what Rob Sturma's first anthology Aim For The Head did for zombies: It tackles what could be dismissed as a genre novelty and through the words of page and stage poets, finds the heart, pathos, and humor involved in the otherworld of those with superhuman abilities. Welcome to an examination of the many facets of what it means to be a hero.
Lyrical and dark, Lauren Sanderson’s Some of the Children Were Listening begins with witness. With a voice uncommonly young and impossibly certain, these poems climb out of bed and sit on the stairs, eavesdropping on a world that wasn’t meant for them. In quick turns and tight threads comes the violence of nature, the nature of violence. Sanderson moves fluidly across the personal and the universal, venturing into a world beyond witness; where the trees fall when the girls scream and everyone’s daughter is a king.
In her electrifying debut, Franny Choi leads readers through the complex landscapes of absence, memory, and identity. Beginning in loss and ending in reflective elation, Floating, Brilliant, Gone explores life as a brief impossibility, “infinite / until it isn’t.” Punctuated with haunting illustrations by Jess X. Chen, Choi’s poems read like lucid dreams that jolt awake at the most unexpected moments.