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When a young girl's parents go out for the evening, they think they've left their daughter in safe hands with robots designed to get her to bed! There's Cook-bot to make great spaghetti for dinner, Clean-bot to do the washing-up, Wash-bot for bath time, and even Book-bot for a bedtime story. What could possibly go wrong?
The Vault is a quiet and vulnerable sequence of ethereal fragments, letters, and poems that trace a narrative of love and healing in the afterlife of a parent’s death. Seasons turn and a life is built despite the ruin. Each poem is a music box of prayer, of the decisions made and yet to be made.
"Sasha Marcus was once the epitome of contemporary success: an internet sensation, social media darling, and a creator of a high-profile wellness brand for women. But a confrontation with an abusive troll has taken a horrifying turn, and now she's at rock bottom: canceled and doxxed online, isolated in her apartment while men's rights protestors rage outside. Sasha confides in her oldest childhood friend, Dyson--a failed actor with a history of body issues--who hatches a plan for her to restore her reputation by becoming the face of his new business venture, The Atmosphere: a rehabilitation community for men."--
“A rare feat for any book of poems, let alone a debut, in that the lines, wrought with such deft precision and care, mark the sum total of a life richly lived and felt at the seat of poetry...These poems care, first and foremost, for what they write of and through, which is a much needed—yet increasingly rare—achievement.” -- Ocean Vuong Engaging the matriarchal structure of the beehive, Amanda Moore explores the various roles a woman plays in the family, the home, and the world at large. Beyond the productivity and excess, the sweetness and sting, Requeening brings together poems of motherhood and daughterhood, an evolving relationship of care and tending, responsibility and joy, dependence and deep love. The poems that anchor this collection don’t shy away from the inevitability of a hive’s collapse and consider the succession of “requeening” a hive as “a new heart ready to be fed and broken and fed again.” The collapse is both physical—there are poems of illness and recovery—and emotional, as the mother-daughter relationship shifts, the daughter becoming separate, whole, and poised to displace. The liminal spaces these poems traverse in human relationships is echoed in a range of poetic and hybrid form, offering freedom and stricture as they contemplate the way we hold one another in love and grief. Requeening is a vivid and surprising collection of poems from a winner of the National Poetry Series Open Competition.
In her third collection, Indonesian American poet Cynthia Dewi Oka dives into the implications of being parents, children, workers, and unwanted human beings under the savage reign of global capitalism and resurgent nativism. With a voice bound and wrestled apart by multiple histories, Fire Is Not a Country claims the spaces between here and there, then and now, us and not us. As she builds a lyric portrait of her own family, Oka interrogates how migration, economic exploitation, patriarchal violence, and a legacy of political repression shape the beauties and limitations of familial love and obligation. Woven throughout are speculative experiments that intervene in the popular apocalyptic narratives of our time with the wit of an unassimilable other. Oka’s speakers mourn, labor, argue, digress, avenge, and fail, but they do not retreat. Born of conflicts public and private, this collection is for anyone interested in what it means to engage the multitudes within ourselves.
With echoes of Toni Morrison's Beloved, Yejidé's novel explores a forgotten quadrant of Washington, DC, and the ghosts that haunt it. Longlisted for the 2022 Women’s Prize for Fiction “Yejidé’s writing captures both real news and spiritual truths with the deftness and capacious imagination of her writing foremothers: Zora Neale Hurston, Toni Morrison and N.K. Jemisin . . . Creatures of Passage is that rare novel that dispenses ancestral wisdom and literary virtuosity in equal measure.” —Washington Post Nephthys Kinwell is a taxi driver of sorts in Washington, DC, ferrying passengers in a 1967 Plymouth Belvedere with a ghost in the trunk. Endless rides and alcohol help her manage her grief over the death of her twin brother, Osiris, who was murdered and dumped in the Anacostia River. Unknown to Nephthys when the novel opens in 1977, her estranged great-nephew, ten-year-old Dash, is finding himself drawn to the banks of that very same river. It is there that Dash—reeling from having witnessed an act of molestation at his school, but still questioning what and who he saw—has charmed conversations with a mysterious figure he calls the “River Man.” When Dash arrives unexpectedly at Nephthys’s door bearing a cryptic note about his unusual conversations with the River Man, Nephthys must face what frightens her most. Morowa Yejidé’s deeply captivating novel shows us an unseen Washington filled with otherworldly landscapes, flawed super-humans, and reluctant ghosts, and brings together a community intent on saving one young boy in order to reclaim itself.
Overture -- Performance -- Postlude.
Winner of the Publishing Triangle Judy Grahn Award for Lesbian Nonfiction, Phi Beta Kappa Christian Gauss Award, and a Lambda Literary Award Finalist for the National Book Award Longlisted for the Andrew Carnegie Medal for Excellence in Nonfiction How do you tell the real story of someone misremembered—an icon and idol—alongside your own? Jenn Shapland’s celebrated debut is both question and answer: an immersive, surprising exploration of one of America’s most beloved writers, alongside a genre-defying examination of identity, queerness, memory, obsession, and love. Shapland is a graduate student when she first uncovers letters written to Carson McCullers by a woman named Annemarie. Though Shapland recognizes herself in the letters, which are intimate and unabashed in their feelings, she does not see McCullers as history has portrayed her. Her curiosity gives way to fixation, not just with this newly discovered side of McCullers’s life, but with how we tell queer love stories. Why, Shapland asks, are the stories of women paved over by others’ narratives? What happens when constant revision is required of queer women trying to navigate and self-actualize in straight spaces? And what might the tracing of McCullers’s life—her history, her secrets, her legacy—reveal to Shapland about herself? In smart, illuminating prose, Shapland interweaves her own story with McCullers’s to create a vital new portrait of one of our nation’s greatest literary treasures, and shows us how the writers we love and the stories we tell about ourselves make us who we are.
"[A] sophisticated picture book written for children aged 7-12 years ... This Collective Noun Safari takes the reader on a journey through its pages discovering funny and fascinating names for groups of animals until it comes across one extremely dangerous creature; a species that steers the safari in a completely different and thought-provoking direction"--Publisher's website.
Sniffles and snuffles and doses of flu, itches and stitches and tummy ache too... Hairy Maclary is waiting to see the vet with lots of other pets. Then something happens to turn the waiting room into a kerfuffling scramble of paws, a tangle of bodies and a jumble of jaws...