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Where Drowned Things Live describes the struggles of an untenured professor, Kristin Ginelli, as she tries to counsel a young woman student at her university and get her to reveal who is abusing her. Kristin fails, and the student is found drowned. As a former Chicago cop who quit the force over sexual harassment and the death of her detective husband in the line of duty, Kristin doggedly investigates this mysterious death, pushing back on foot-dragging by the university and obstruction by the Chicago police. Kristin is almost killed twice, but she does not give up on questioning why this student died. The novel is wholly fictional. What is not fiction, however, is that often students at colleges and universities around the country are vulnerable to sexual assault and abuse and they can receive very little help from their schools or from law enforcement. Today more than 300 schools of higher education are being investigated under Title IX for failures to prevent sexual assault and harassment on their campuses, and to deal fairly with reports.
"The Will to Change is an extraordinary book of poems...It has the urgency of a prisoner's journal: patient, laconic, eloquent, as if determined thoughts were set down in stolen moments." —David Kalstone in The New York Times Book Review "The Will to Change must be read whole: for its tough distrust of completion and for its cool declaratives which fix us with a stare more unsettling than the most hysterical questions...It includes moments when poverty and heroism explode grammer with their own dignified unsyntactical demands...The poems are about departures, about the pain of breaking away from lovers and from an old sense of self. They discover the point where loneliness and politics touch, where the exercise of the radical courage takes its inevitable toll."—David Kalstone in The New York Times Book Review
Winner of the 2021 National Book Award for Poetry From the winner of the Ruth Lilly Poetry Prize come masterfully crafted narratives of protest, grief and love. Martín Espada is a poet who "stirs in us an undeniable social consciousness," says Richard Blanco. Floaters offers exuberant odes and defiant elegies, songs of protest and songs of love from one of the essential voices in American poetry. Floaters takes its title from a term used by certain Border Patrol agents to describe migrants who drown trying to cross over. The title poem responds to the viral photograph of Óscar and Valeria, a Salvadoran father and daughter who drowned in the Río Grande, and allegations posted in the "I’m 10-15" Border Patrol Facebook group that the photo was faked. Espada bears eloquent witness to confrontations with anti-immigrant bigotry as a tenant lawyer years ago, and now sings the praises of Central American adolescents kicking soccer balls over a barbed wire fence in an internment camp founded on that same bigotry. He also knows that times of hate call for poems of love—even in the voice of a cantankerous Galápagos tortoise. The collection ranges from historical epic to achingly personal lyrics about growing up, the baseball that drops from the sky and smacks Espada in the eye as he contemplates a girl’s gently racist question. Whether celebrating the visionaries—the fallen dreamers, rebels and poets—or condemning the outrageous governmental neglect of his father’s Puerto Rico in the wake of Hurricane María, Espada invokes ferocious, incandescent spirits.
In her seventh volume of poetry, Adrienne Rich searches to reclaim—to discover—what has been forgotten, lost, or unexplored. "I came to explore the wreck. / The words are purposes. / The words are maps. / I came to see the damage that was done / and the treasures that prevail." These provocative poems move with the power of Rich's distinctive voice.