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A Kirkus Best Book of the Year During World War II, with apocalypse imminent, a group of well-known Jewish scientists and artists sidestepped despair by challenging themselves to solve some of the most difficult questions posed by our age. Many had just fled Europe. Others were born in the United States to immigrants who had escaped Russia’s pogroms. Alternately celebrated as mavericks and dismissed as eccentrics, they trespassed the boundaries of their own disciplines as the entrance to nations slammed shut behind them. In Stargazing in the Atomic Age, Anne Goldman interweaves personal and intellectual history in exuberant essays that cast new light on these figures and their virtuosic thinking. In lyric, lucent sentences that dance between biography and memoir as they connect innovation in science with achievement in the arts, Goldman yokes the central dramas of the modern age with the brilliant thinking of earlier eras. Here, Einstein plays Mozart to align mathematical principle with the music of the spheres and Rothko paints canvases whose tonalities echo the stark prose of Genesis. Nearby, Bellow evokes the dirt and dazzle of the Chicago streets, while upon the heels of World War II, Chagall illuminates stained glass no less buoyant than the effervescent notes of Gershwin's Rhapsody in Blue. In these essays, Goldman reminds readers that Jewish history offers as many illustrations of accomplishment as of affliction. At the same time, she gestures toward the ways in which experiments in science and art that defy partisanship can offer us inspiration during a newly divisive era.
How to identify constellations, star formations, and comets, and use star patterns to establish direction and time. Explores legends behind constellations.
With Tripas, Brandon Som follows up his award-winning debut with a book of poems built out of a multicultural, multigenerational childhood home, in which he celebrates his Chicana grandmother, who worked nights on the assembly line at Motorola, and his Chinese American father and grandparents, who ran the family corner store. Enacting a cómo se dice poetics, a dialogic poem-making that inventively listens to heritage languages and transcribes family memory, Som participates in a practice of mem(oir), placing each poem’s ear toward a confluence of history, labor, and languages, while also enacting a kind of “telephone” between cultures. Invested in the circuitry and circuitous routes of migration and labor, Som’s lyricism weaves together the narratives of his transnational communities, bringing to light what is overshadowed in the reckless transit of global capitalism and imagining a world otherwise—one attuned to the echo in the hecho, the oracle in the órale.
"With cue, Siwar Masannat follows up her prize-winning debut with poems that wrestle with intimacy and distance, posing questions about privacy and circulation, gender and family, as well as ecological agency. Through intertextual and lyric experiments, Masannat engages a host of writers and artists, such as artist Akram Zaatari, photographer Hashem El-Madani, poet Joy Harjo, Sufi master Ibn 'Arabi, and the late Etel Adnan, all to offer a suggestive mapping of the slippages between ontology and cosmology"--
David Lloyd’s poetry abides in a lineage of poetic modernism, often in dialogue with poets like César Vallejo, Paul Celan, and Mahmoud Darwish. The poems in The Harm Fields are rich in imagery, their language a fluent mix of registers, from colloquial idioms to technical language and literary citation, and replete with multilingual puns and portmanteaux. These poems carry forward the musical values and the questioning project of the modernist lyric, but their concerns are contemporary, haunted by the ongoing brutality of the times, from Ireland to Palestine, and reaching for a language adequate to mourning, persistence, and utopian possibility.
Oysters are humble animals yet very important. Vital to the health of our coast, this keystone species helps filter coastal waters and protects shorelines from undue erosion. In addition, oysters are a source for both food and physical shelter for a wide array of other animals as well as some plants. This book began with a federal grant to create a living shoreline, a manmade slope carefully engineered to provide optimal living conditions for oysters and that will function as a seamless part of the natural environment. Such living shorelines allow oysters to thrive while they also help protect the land from some of the problems that are increasing because of climate change. Why add a children’s book to an ecological building project? Learning about oysters and their role in the environment will help our young people grow into adults who are good stewards of our planet. Understanding life cycles and the interconnections between species, no matter how small, are crucial to that outcome, and oysters are a fascinating and compelling way to explore those concepts. INCLUDES: Full-page color illustrations throughout Inset illustrations highlighting associated species, life-cycle stages, ecological insights, and human uses of oysters Amazing oyster facts Ways to help support oysters Further reading
How to find wisdom and spiritual sustenance in a time of crisis and uncertainty? In Divine Fire, David Woo answers with poems that move from private life into a wider world of catastrophe and renewal. The collection opens in the most personal space, a bedroom, where the chaotic intrusions of adulthood revive the bafflements of childhood. The perspective soon widens from the intimacies of love to issues of national and global import, such as race and class inequality, and then to an unspoken cataclysm that is, by turns, a spiritual apocalypse and a crisis that could be in the news today, like climate change or the pandemic. In the last part of the book, the search for ever-vaster scales of meaning, both sacred and profane, finds the poet trying on different personas and sensibilities—comic, ironic, earnest, literary, self-mythologizing— before reaching a luminous détente with the fearful and the sublime. The divine fire of lovers fading in memory—“shades of the men in my blood”—becomes the divine fire of a larger spiritual reckoning. In his new book of poems, Woo provides an astonishing vision of the world right now through his exploration of timeless themes of love, solitude, art, the body, and death.
Marylyn Tan’s debut volume complicates ideas of femininity, queerness, and the occult. Theoretically informed, imaginatively reckless, and politically fierce, these poems gaze back at visual arts, literature, and everyday life to present a feminine grotesque that subverts the patriarchal viewpoint that has structured these terrains of thought and life. GAZE BACK, ultimately, is an instruction book, a grimoire, a call to insurrection to wrest power back from the social structures that serve to restrict, control, and distribute it among those few privileged above the disenfranchised. It is a poetic call to arms. This book rocked Singapore literature upon its publication, winning the Singapore Literature Prize in English Poetry in 2020 and making Tan the first woman to earn the nation’s premier English-language poetry prize. Excerpt from “Nasi Kang Kang” the idea is witchcraft comes naturally to women but which witch women
Hong Kong without Us is a decentralized book of revolutionary poetry. Drawn directly from the voices of Hong Kong during its anti-extradition protests, the poems consist of submitted testimonies and found materials—and are all anonymous from end to end, from first speech to translated curation. This collected poetic documentation of protest is thus an authorless work that brings together many voices. The editors themselves are anonymous poets acting through the Bauhinia Project, an organization created to bring Hong Kong’s struggles to the stage of transnational activism through lyric and language, in the same spirit of leaderlessness as the protests. This book is a glimpse into the movement’s lives and voices. The poems here were either submitted as testimonies to the Bauhinia Project at an encrypted email address or collected as “found poems” from testimonies and protest materials on the streets, on social media, and on the news. Each was from an anonymous source in Chinese. They are a people’s poetry: nameless, lowbrow, temporally bound, squeezed out from moments of gravity and strife. They are meant to reach out across the silence of oceans, through differences in language and culture.