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Isako Isako follows a single family lineage spanning four generations of female Japanese Americans to explore the chilling historical legacies of cultural trauma—internment, mass displacement and rampant racism—in the United States, and how it weaves together with current events.
Journey through a Japanese American's lineage, detailing war, xenophobia, and racism. These poems ache while creating hope for the future.
"The delicate arc of these poems intimates—rather than tells—a love story: celebration, fear of loss, storm, abandonment, an opening forth. Richie Hofmann disciplines his natural elegance into the sterner recognitions that matter: 'I am a little white omnivore,' the speaker of Second Empire discovers. Mastering directness and indirection, Hofmann's poems break through their own beauty."—Rosanna Warren This debut's spare, delicate poems explore ways we experience the afterlife of beauty while ornately examining lust, loss, and identity. Drawing upon traditions of amorous sonnets, these love-elegies desire an artistic and sexual connection to others—other times, other places—in order to understand aesthetic pleasures the speaker craves. Distant and formal, the poems feel both ancient and contemporary. Antique Book The sky was crazed with swallows. We walked in the frozen grass of your new city, I was gauzed with sleep. Trees shook down their gaudy nests. The ceramic pots were caparisoned with snow. I was jealous of the river, how the light broke it, of the skein of windows where we saw ourselves. Where we walked, the ice cracked like an antique book, opening and closing. The leaves beneath it were the marbled pages. Richie Hofmann is the winner of a Ruth Lilly Fellowship from the Poetry Foundation, and his poems have appeared or are forthcoming in the New Yorker, Poetry, the Kenyon Review, and Ploughshares. A graduate of the Johns Hopkins University MFA program, he is currently a Creative Writing Fellow in Poetry at Emory University.
These quiet, descriptive poems blaze with an inferno of lamenting and loving muses as a son helplessly watches his father suffer from a debilitating illness. The inquisitive voice of the speaker gently paints an emotional landscape ranging from childhood to the present, while trying to find glimpses of happiness in the imminent sorrow.
"Defiant and uncategorizable, Lo Kwa Mei-en's Yearling, with its teeming species, battles, and passions, read like an illuminated manuscript: mysterious, visceral, awe-full. Hers are some of the most enviable poems I have ever read, and herald Mei-en as the new standard bearer for innovative structure, terrifying acknowledgment, ecstatic statement, and, I daresay, beauty."—Kathy Fagan Lo Kwa Mei-en's Yearling explores adolescence through a deeply moving and poignantly raw lens. As the speaker ages, so too does the poetry, creating laments for the loss of friendship, the loss of species, and sometimes the loss of humanity itself. Harsh, forlorn and yet effervescent, Mei-en's lyricism perfectly captures the ethos of youth in an unsure world. From "Rara Avis Decoy": Wild diamond rocking on the floor of a predatory boat. Point & say sweet traitor to the wood & water for wanting to be made of both. My name is I know not what I am as a country of mothers & fathers comes down. They call me sleeping beauty. I dream I am in flight, body unfolding, folding, a bullet wounding water again & again—the mysterious love of a father & mother a two-barreled gaze. The gun in my dream speaks my name & sees a beating vein. Takes aim— Lo Kwa Mei-en is from Singapore and Ohio. Her poems have appeared in Boston Review, Guernica, the Kenyon Review, West Branch, and other journals, and won the Crazyhorse Lynda Hull Memorial Poetry Prize and the Gulf Coast Poetry Prize.
A fascinating blend of poetry and science, Ben-Oni’s poems are precisely crafted, like a surgeon sewing a complicated stitch. The speaker of the collection falls ill, and takes comfort in exploring the idea of “Efes” which is “zero” in Modern Hebrew, using that nullification to be a means of transformation.
"Monica Hand's me and Nina is a beautiful book by a soul survivor. In these poems she sings deep songs of violated intimacy and the hard work of repair. The poems are unsentimental, blood-red, and positively true, note for note, like the singing of Nina Simone herself. Hand has written a moving, deeply satisfying, and unforgettable book."—Elizabeth Alexander In an intimate conversation with the "High Priestess of Soul," Monica A. Hand surveys the places and moods of alienation through poems that are as musical and stylistically diverse as Nina Simone's work. Hand readily embraces a "mass hypnosis" style, putting "a spell on [us]" with her intensely passionate cries and commitment to embracing both tragedy and exuberance in these insightful poems. From "Dear Nina": I am not recession depression oppression compression crooked line broken line polka dot parking lot or spot I am a Gift from God I know that I am an un-kept solo song Monica A. Hand is a poet and book artist currently living in Harlem, New York. Her poems have appeared or are forthcoming in Aunt Chloe, Black Renaissance Noire, The Sow's Ear, Drunken Boat, Beyond the Frontier, African-American Poetry for the 21st Century, Gathering Ground: A Reader Celebrating Cave Canem's First Decade, and elsewhere. She holds an MFA in poetry and poetry in translation from Drew University and is a founding member of Poets for Ayiti.
We Borrowed Gentleness interrogates the innateness of pain and forms of destruction—through natural disaster, through God, through family, and through the power structures and patriarchal violence that embeds itself in language and cultural memory. Poems critique and challenge the patriarchal narratives that dominate American history. The poems leave the question open of whether man, men, a father and son, are redeemable after the surge of rising white nationalism in America. And yet, there are poems that find, still, bits of joy and perhaps a shred of hope. By juxtaposing poems of louder narrative imagination with quieter poems that explore intimate failings within a family, often portrayed with a realist aesthetic, the book attempts to work through the essential fault in man, in men—in the structures that they design and maintain.
Who is the man called Sabura, the mysterious bandit who robs the rich and helps the poor? And what is his connection with Yosida, the harsh and ill- tempered master of feudal Japan's most famous puppet theater? Young Jiro, an apprentice to Yosida, is determined to find out, even at risk to his own life. Meamwhile, Jiro devotes himself to learning puppetry. Kinshi, the puppet master's son, tutors him. When his sheltered life at the theater is shattered by mobs of hungry, rioting peasants, Jiro becomes aware of responsibilities greater that his craft. As he schemes to help his friend Kinshi and to find his own parent, Jiro stumbles onto a dangerous and powerful secret....
Exploring contemporary Okinawan culture, politics, and historical memory, this book argues that the long Japanese tradition of defining Okinawa as a subordinate and peripheral part of Japan means that all claims of Okinawan distinctiveness necessarily become part of the larger debate over contemporary identity. The contributors trace the renascence of the debate in the burst of cultural and political expression that has flowered in the past decade, with the rapid growth of local museums and memorials and the huge increase in popularity of distinctive Okinawan music and literature, as well as in political movements targeting both U.S. military bases and Japanese national policy on ecological, developmental, and equity grounds. A key strategy for claiming and shaping Okinawan identity is the mobilization of historical memory of the recent past, particularly of the violent subordination of Okinawan interests to those of the Japanese and American governments in war and occupation. Its intertwining themes of historical memory, nationality, ethnicity, and cultural conflict in contemporary society address central issues in anthropology, sociology, contemporary history, Asian Studies, international relations, cultural studies, and post-colonial studies. Contributions by: Matt Allen, Linda Isako Angst, Asato Eiko, Gerald Figal, Aaron Gerow, Laura Hein, Michael Molasky, Steve Rabson, James E. Roberson, Mark Selden, and Julia Yonetani.