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Winner of the Vassar Miller Prize in Poetry, 2012 With muscular language and visceral imagery, Club Icarus will appeal to sons and fathers, to those tired of poetry that makes no sense, to those who think lyric poetry is dead, to those who think the narrative poem is stale, and to those who appreciate the vernacular as the language of living and the act of living as something worth putting into language.
Jessamy Harrison is eight years old. Sensitive, whimsical, possessed of a powerful imagination, she spends hours writing, reading or simply hiding in the dark warmth of the airing cupboard. As the half-and-half child of an English father and a Nigerian mother, Jess just can't shake off the feeling of being alone wherever she goes, and other kids are wary of her terrified fits of screaming. When she is taken to her mother's family compound in Nigeria, she encounters Titiola, a ragged little girl her own age. It seems that at last Jess has found someone who will understand her. TillyTilly knows secrets both big and small. But as she shows Jess just how easy it is to hurt those around her, Jess begins to realise that she doesn't know who TillyTilly is at all.
My name is Icarus for a reason. If there’s a way to screw up a plan, I’m your man. Case in point: Falling for the man I’m supposed to seduce and ferry to his death. Adam Devlin, aka the Devil. A vigilante ex-cop and a thorn in the side of the mobster blackmailing me. Should be easy. Except Adam’s longing for intimacy—for submission—is irresistible. Seduce him, yes. Lead him to his death, world of no. There’s only one solution to save us both: kidnap the Devil. I mentioned my name is Icarus, right? Three guesses how this plan will go. Bet you only need one. Icarus and the Devil is a steamy M/M urban fantasy romance novel. It features two danger-magnet men trying to stay alive and failing to stay away from each other. Chaos ensues on their way to happily ever after.
Trying to make sense of a disordered world, Stefanie Wortman's debut collection examines works of art as varied as casts of antique sculpture, 19th-century novels, and even scenes from reality television to investigate the versions of order that they offer. These deft poems yield moments of surprising levity even as they mount a sharp critique of human folly. "These poems seem haunted by a mostly nameless melancholia. In The Permanent Collection, however, turns its grim geography of prisons, mortuaries, and tawdry suburbs into something close to classical elegy. 'In sunken rooms,' Wortman writes, 'on scratchy rugs, maybe we’ve never known happiness.' It’s that 'maybe'—the smart hedge—that renders her poems complex, often beguiling, but never without a gesture of redemption. This should be part of any serious poet’s permanent collection."— Chad Davidson, author of The Last Predicta and judge
“There are some poets we admire for a mastery that allows them to tell a story, express an epiphany, form a conclusion, all gracefully and even memorably—yet language in some way remains external to them. But there are other poets in whom language seems to arise spontaneously, fulfilling a design in which the poet’s intention feels secondary. Books by these poets we read with a gathering sense of excitement and recognition at the linguistic web being drawn deliberately tighter around a nucleus of human experience that is both familiar and completely new, until at last it seems no phrase is misplaced and no word lacks its resonance with what has come before. Such a book is Austin Segrest’s Door to Remain. Ranging between Atlanta, Georgia, and the Eternal City of Rome, these poems offer a poignant chronicle of haunting by a mother who is simultaneously present and absent even before her death. The centerpiece of the book is a poem in nineteen sections entitled ‘Majestic Diner’ that strives to answer its own epigraph, from George Herbert: ‘My God, what is a heart?’ Elsewhere, the poet writes ‘Humankind / cannot bear to be cheated out of our most guarded truths,’ paraphrasing T.S. Eliot’s dictum that ‘Humankind cannot bear very much reality,’ and part of what makes this book memorable are the clear-sightedness and charity with which those truths are anatomized.”—Karl Kirchwey, author of Poems of Rome and judge
The poems in James Najarian’s debut collection are by turns tragic and mischievous, always with an exuberant attention to form. Najarian turns his caprine eye to the landscapes and history of Berks Country, Pennsylvania, and to the middle east of his extended Armenian family. These poems examine our bonds to the earth, to animals, to art and to desire. “In blank verse, free verse, stanzas and syllabics rhymed with delicate quirkiness, the poems of The Goat Songs are sure-footed and nimble.”—A.E. Stallings, author of Olives and judge
This collection is a record of one man’s navigation of loss, addiction, and labor. At once a meditation on the allure of a legacy in self-destruction and a giving over to hope, Felling is an exploration in honesty. Rendered in direct language and through clear eyes, this book, as its title indicates, is concerned with tensions of agency, creation, and destruction—upward and downward motion. “After the 1940 publication of Native Son, Richard Wright shared some of his stylistic goals in the novel. ‘I wanted the reader to feel that Bigger’s story was happening now,’ he writes, ‘like a play upon the stage or a movie unfolding upon the screen. Action follows action, as in a prize fight.’ Kelan Nee’s poetry delivers the immediacy and punch that Wright demanded of literature. Nee has the head for poetry, the heart for poetry, and above all, the guts. This debut collection holds back nothing and leaves me reeling with high hopes for Nee’s future in the craft.”—Gregory Fraser, judge and author of Designed for Flight and Answering the Ruins
This collection’s title—as in tether, strike, eyelash, welt—is a nod to the fluidity of language and the foolish penchant we have for naming things, including ourselves. The poems refuse to navigate, choosing instead to face head-on the snares of gender, patriarchy, and parenting. In the closing environmental poems of farewell, the speaker regains communion with nature through the ageing body. “Poem by poem, line by line, and word by word, Every Lash sings of our complex human entanglements with places, the past and all the other creatures we meet on the road. Earthy and soulful, funny and fierce, I needed these poems. We all do.” –Jenny Browne, Texas Poet Laureate, author of Dear Stranger and judge.