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Tim Stafford's work lives in the buffer zone between Chicago and the American Dream -- far from the suburbs with white picket fences and country clubs but still too far to be of the city proper. Like a carefully curated mixtape, Stafford's work navigates the side streets and highways in between, linking those worlds in an effort to create his own.
A collection of poetry that moves from family history and the heartbreaks of navigating a predominantly white high school into adulthood, exploring the ways the speaker’s experiences echo those of an expansive and intricate history of Black girls and women. In this beautiful debut from an exciting new poet, Alexa Patrick’s Remedies for Disappearing memorializes Blackness in its quiet and unexpected forms, bringing the peripheral into focus. These poems muddy Black life and death, observe lineage and love stories, and question what “disappearing” teaches about Blackness and bodies. Remedies for Disappearing is gritty, sharp, and formally inventive, demonstrating Patrick’s imaginative curiosity, lyrical restraint, and confidence in her handling of language. Moments of aphoristic confession are balanced with imagistic precision as the speaker recounts the ways her aunties, sisters, and even herself have disappeared in order to survive. Patrick’s poetry is haunting and hopeful, striving to provide readers with the tools and context to acknowledge, define, and honor the complexity of Black girl/womanhood. Remedies for Disappearing connects Black girls and women to each other and to their own histories, and insists that they be fully and wholly seen.
In their latest collection of poems, Cave Canem Poetry Prize winner Brionne Janae dives into the deep, unsettled waters of intimate partner violence, queerness, grief, and survival. “I’ve decided I can’t trust anyone who uses darkness as a metaphor for what they fear,” poet Brionne Janae writes in this stunning new collection, in which the speaker navigates past and present traumas and interrogates familial and artistic lineages, queer relationships, positions of power, and community. Because You Were Mine is an intimate look at love, loneliness, and what it costs to survive abuse at the hands of those meant to be “protectors.” In raw, confessional, image-heavy poems, Janae explores the aftershocks of the dangerous entanglement of love and possession in parent-child relationships. Through this difficult but necessary examination, the collection speaks on behalf of children who were left or harmed as a result of the failures of their parents, their states, and their gods. Survivors, queer folks, and readers of poetry will find recognition and solace in these hard-wrought poems—poems that honor survivorship, queer love, parent wounds, trauma, and the complexities of familial blood.
A collection of moving and tender poems that delves into questions of masculinity, fatherhood, home, and learning to live in and love one’s own body. In his second full-length poetry collection, Chicago-born poet Dan “Sully” Sullivan considers the male body—its momentum and privilege when moving through the world, but also its softness and vulnerability. As the poems unfold and questions unravel, the book challenges wider social systems that uphold patriarchal notions of masculinity, seeking to achieve a new register of compassion, of self-love. O Body is also a migration narrative, navigating the physical distances between cities—the speaker’s movement between Chicago and his new home in Bloomington—and beyond that, the expansive, immeasurable distances within the self. Cityscapes come alive on the page and relationships bloom and deepen as Sully explores love, fatherhood, and family; here, traditional assumptions regarding masculinity and beauty are called into question through the speaker’s tenderhearted wondering. As more and more people awaken to the realization that the patriarchy oppresses people of all genders, Sully’s work in O Body offers a much-needed narrative of that shifting perspective. This deeply self-aware and big-hearted book holds space for reflecting on one’s physical body and interiority: the complex relationship between the two as well as their intricate and often fraught connections to the wider community and the places we call home.
A debut collection of lyric poems interrogating the generational implications of the Great Migration to Northern California. Ankle-Deep in Pacific Water, a debut collection by E. Hughes, marries personal narrative with historical excavation to articulate the intricacies of Black familial love, life, and pain. Tracing the experiences of a southern Black family, their migration to the San Francisco Bay area, and the persistent anti-Blackness there (despite the state’s insistence that it is/was not involved in the US’ projects of imperialism or chattel slavery), Hughes illuminates the intersections of history, grief, and violence. At the book’s heart is “The Accounts of Mammy Pleasant,” a persona poem written from the perspective of the formerly enslaved abolitionist and financier Mary Ellen Pleasant who is thought to have helped fund John Brown’s raid on Harpers Ferry. Alongside this historical account, Hughes deftly weaves in the story of a contemporary Black family navigating the generational trauma resulting from the Great Migration: domestic violence and racialized violence, familial love and loyalty, the work of parenting, and the work of being a child. Ankle-Deep in Pacific Water reveals in its pages that, while many things have changed over time, ultimately the question of what “freedom” meant and looked like for Black people in the early 20th century retains the same murkiness and contradictions for Black people today.
Dr. Cyrus Mills returns to his hometown after inheriting his father's failing veterinary practice. Cyrus intends to sell the practice and get out of town as fast as he can, but when his first patient -- a down-on-her-luck golden retriever named Frieda Fuzzypaws -- wags her way through the door, life suddenly gets complicated. With the help of a black Labrador gifted in the art of swallowing underwear, a Persian cat determined to expose her owner's lover as a gold digger, and the allure of a feisty, pretty waitress from the local diner, Cyrus gets caught up in a new community and its endearing residents, both human and animal. Sensing he may have misjudged the past, he begins to realize it's not just his patients that need healing. The Patron Saint of Lost Dogs is a winsome tale of new beginnings, forgiveness, and the joy of finding your way home.
Based on original reporting from West Africa and the United States, and the poet 's experiences as a doctor and journalist, If God Is A Virus charts the course of the largest and deadliest Ebola epidemic in history, telling the stories of Ebola survivors, outbreak responders, journalists and the virus itself. Documentary poems explore which human lives are valued, how editorial decisions are weighed, what role the aid industrial complex plays in crises, and how medical myths and rumor can travel faster than microbes. These poems also give voice to the virus. Eight percent of the human genome is inherited from viruses and the human placenta would not exist without a gene descended from a virus. If God Is A Virus reimagines viruses as givers of life and even authors of a viral-human self-help book.
In The Lay Saint, Mary Harvey Doyno investigates the phenomenon of saintly cults that formed around pious merchants, artisans, midwives, domestic servants, and others in the medieval communes of northern and central Italy. Drawing on a wide array of sources—vitae documenting their saintly lives and legends, miracle books, religious art, and communal records—Doyno uses the rise of and tensions surrounding these civic cults to explore medieval notions of lay religiosity, charismatic power, civic identity, and the church's authority in this period. Although claims about laymen's and laywomen's miraculous abilities challenged the church's expanding political and spiritual dominion, both papal and civic authorities, Doyno finds, vigorously promoted their cults. She shows that this support was neither a simple reflection of the extraordinary lay religious zeal that marked late medieval urban life nor of the Church's recognition of that enthusiasm. Rather, the history of lay saints' cults powerfully illustrates the extent to which lay Christians embraced the vita apostolic—the ideal way of life as modeled by the Apostles—and of the church's efforts to restrain and manage such claims.