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Continuing on from the first volume's strong debut, this edition demonstrates the power of the author's control over words, phrases, and emotions.
"Sherwin Bitsui's new poetry collection, Flood Song—a sprawling, panoramic journey through landscape, time, and cultures—is well worth the ride."—Poets & Writers “Bitsui’s poetry is elegant, probative, and original. His vision connects worlds.”—New Mexico Magazine “His images can tilt on the side of surrealism, yet his work can be compellingly accessible.”—Arizona Daily Star “Sherwin Bitsui sees violent beauty in the American landscape. There are junipers, black ants, axes, and cities dragging their bridges. I can hear Whitman's drums in these poems and I can see Ginsberg's supermarkets. But above all else, there is an indigenous eccentricity, ‘a cornfield at the bottom of a sandstone canyon,’ that you will not find anywhere else.”—Sherman Alexie Native traditions scrape against contemporary urban life in Flood Song, an interweaving painterly sequence populated with wrens and reeds, bricks and gasoline. Poet Sherwin Bitsui is at the forefront of a new generation of Native writers who resist being identified solely by race. At the same time, he comes from a traditional indigenous family and Flood Song is filled with allusions to Dine (Navajo) myths, customs, and traditions. Highly imagistic and constantly in motion, his poems draw variously upon medicine song and contemporary language and poetics. “I map a shrinking map,” he writes, and “bite my eyes shut between these songs.” An astonishing, elemental volume. I retrace and trace over my fingerprints Here: magma, there: shore, and on the peninsula of his finger pointing west— a bell rope woven from optic nerves is tethered to mustangs galloping from a nation lifting its first page through the man hole—burn marks in the saddle horn, static in the ear that cannot sever cries from wailing. Sherwin Bitsui’s acclaimed first book of poems, Shapeshift, appeared in 2003. He has earned many honors for his work, including fellowships from the Witter Bynner Foundation and Lannan Foundation, and he is frequently invited to poetry festivals throughout the world. He lives in Tucson, Arizona.
Drawing on four decades of work and including new poems published here for the first time, this selection of Mei-mei Berssenbrugge’s poetry displays the extraordinary luminosity characteristic of her style—its delicate, meticulous observation, great scenic imagination, and unusual degree of comfort with states of indetermination, contingency, and flux.
The territory of Clare Shaw's third collection isn't one she chose herself, but one which chose her: the flooded valley and the ruined home. The 2015 floods in Britain left whole swathes of the country submerged, including her home town. Flood offers an eye-witness account of those events, from rainfall to rescue, but ripples out from there. Intimately interwoven with the breakdown of a relationship, flooding serves as a powerful metaphor for wider experiences of loss, destruction and recovery. Testifying equally to the forces that destroy us and save us, flood runs through the book in different forms - bereavement and trauma, the Savile scandal, life in an asylum. Yet ultimately, this is a story of one life as it is unravelled and rebuilt, written from the heart and from the North, in a language as dangerous and sustaining as water.
“To write a series of poems out of extreme illness is a bracing accomplishment indeed. In Deluge... Leila Chatti, born of a Catholic mother and a Muslim father, brilliantly explores the trauma." —Naomi Shihab Nye, The New York Times In her early twenties, Leila Chatti started bleeding and did not stop. Physicians referred to this bleeding as flooding. In the Qur’an, as in the Bible, the Flood was sent as punishment. The idea of disease as punishment drives this collection’s themes of shame, illness, grief, and gender, transmuting religious narratives through the lens of a young Arab-American woman suffering a taboo female affliction. Deluge investigates the childhood roots of faith and desire alongside their present day enactments. Chatti’s remarkably direct voice makes use of innovative poetic form to gaze unflinchingly at what she was taught to keep hidden. This powerful piece of life-writing depicts Chatti’s journey from diagnosis to surgery and remission in meticulous chronology that binds body to spirit and advocates for the salvation of both. Chatti blends personal narrative, religious imagery, and medical terminology in a chronicle of illness, womanhood, and faith.
Poetry. "Magers scribes as if poet-ghost adrift thru dressing rooms backstage taking notes, capturing the moment in all its lovely eros and happiness and cause for alarm. Writing poems like these is just as good as starting a band when poems like songs flood the brain. I like your smile." Thurston Moore "'I wanted to be high, but now I'm trapped in my life.' Frustrated by the limits of his world, PARTYKNIFE's youthful speaker wears a mask of aloofness that incompletely conceals his yearning. His poems strain to hold his exuberance, and his studied detachment belies his racing heart. 'Everything I hated has become my life now. By which I mean how happy I am.' These poems are angry, insistent, and wildly in love with life." Sarah Manguso "PARTYKNIFE is fucking awesome, like a manual to a new kind of LCD machine you aren't allowed to actually turn on yet; the book is I think really an opening of something. Just thought, 'the future.'" Blake Butler"
"Drawn from daily observations, Heather Sellers's poems ponder the changing Florida Coast as the population swells and the waters rise"--
Powerful first collection by acclaimed Filipina Australian performance poet In Flood Damages Andrada explores themes associated with immigration and inheritance, through the figure of a young Australian Filipina woman, whose family has been irreparably damaged by deportation, violence and illness. The wounds inflicted by these events, political and personal, are felt most keenly in and through her body – ‘your blood sings of the scattered histories/ that left you here’ – and in a dramatic use of language, influenced by the rhythms of prayer, which expresses pain and anger with passionate intensity. A performance poet, Andrada combines the theatrical qualities of voice and image in this, her first published collection, affirming the female body as a site of vulnerability and power.
From the Booker Prize–winning author of Oryx and Crake, the first book in the MaddAddam Trilogy, and The Handmaid’s Tale. Internationally acclaimed as ONE OF THE BEST BOOKS OF THE YEAR by, amongst others, the Globe and Mail, the New York Times, the New Yorker, and the Village Voice In a world driven by shadowy, corrupt corporations and the uncontrolled development of new, gene-spliced life forms, a man-made pandemic occurs, obliterating human life. Two people find they have unexpectedly survived: Ren, a young dancer locked inside the high-end sex club Scales and Tails (the cleanest dirty girls in town), and Toby, solitary and determined, who has barricaded herself inside a luxurious spa, watching and waiting. The women have to decide on their next move—they can’t stay hidden forever. But is anyone else out there?
A book-long prose poem, Grand Flood uses a range of techniques gathered from the entire gamut of the history of literature and philosophy, from the ancient classics to postmodern text. Maximizing the author's knowledge and command of language, this epic plunges the reader into a vortex of immense intensification, pushing the medium of poetry to its limit.