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In his second collection of poems, we meet Félix Garmendía again after he has been settled in Washington Heights for years with his husband, Denis. With Denis, he and his wheelchair Purple Raven swing around Fort Tryon Park, the streets, the building, and the apartment in all seasons. There Félix bears witness to some of the most frightening occurrences of the last fifty years: the disinformation and bigotry of a feral, out-of-control administration, the explosion of racism, the pandemic, and the storming of the Capitol. Through his eyes we watch exhausted healthcare workers exit hospitals, still wearing their equipment, to a universal round of applause, played out differently in every New York neighborhood. We see Black people murdered by police. We shiver with anger at the blend of authoritarianism and misinformed rage that almost guts the heart of our democracy. And yet through it all, through Félix, we also find the grace and courage to laugh and find our own oases of hope. Félix is a poet, HIV+ survivor, and disabled due to Inclusion Body Myositis. He survived his early years in conservative Catholic Puerto Rico and arrived in Manhattan, New York City, in 1988. His poems narrate his life as a gay activist, poet, and storyteller in the face of illness and intolerance. Because of his Inclusion Body Myositis, Félix has become adept at typing with one finger. He has also become incredibly, enchantingly adept at capturing the mood of a year, a day, a season, a place. As in his first poetry collection, Flying On Invisible Wings, Félix sculpts with words the very heart of his wishes, hopes, failings, and cares. But here they are often the wishes, hopes, failings, and cares of a nation, as well. ​​​​​​​With Félix, we emerge from the deluge that the last few years have brought into our lives. We find the calm place again.
Author Gene Auprey offers a new collection of poems; a meditation on nature, life and death, and the ever-present possibilities of hope, humor and love. "At home somewhere between the pastoral and the familial, violence and tranquility (often showing how they are sometimes the same side of the same coin), Gene Auprey's voice is one of restrained and steady power."- James Midgely, Editor MIMESIS
A collection of poetry by the former president shares Carter's private meditations and memories about his youth, family, friends, and politics. 75,000 first printing. $75,000 ad/promo. Tour.
The end is nigh! Or has it already happened?Welcome to a world of ghosts and vampires, of serial apocalypses and terrifying visions. The world is cracked, burning, lost. Yet, there may be glimpses of something beyond. There may be hope for some kind of survival, possibly even love!Count on nothing, though. These poems come from a strange, fevered place, where humor masks tragedy and angels and demons keep score.
A reinvestigation of chemical biological weapons dropped on the Hmong people in the fallout of the Vietnam War In this staggering work of documentary, poetry, and collage, Mai Der Vang reopens a wrongdoing that deserves a new reckoning. As the United States abandoned them at the end of the Vietnam War, many Hmong refugees recounted stories of a mysterious substance that fell from planes during their escape from Laos starting in the mid-1970s. This substance, known as “yellow rain,” caused severe illnesses and thousands of deaths. These reports prompted an investigation into allegations that a chemical biological weapon had been used against the Hmong in breach of international treaties. A Cold War scandal erupted, wrapped in partisan debate around chemical arms development versus control. And then, to the world’s astonishment, American scientists argued that yellow rain was the feces of honeybees defecating en masse—still held as the widely accepted explanation. The truth of what happened to the Hmong, to those who experienced and suffered yellow rain, has been ignored and discredited. Integrating archival research and declassified documents, Yellow Rain calls out the erasure of a history, the silencing of a people who at the time lacked the capacity and resources to defend and represent themselves. In poems that sing and lament, that contend and question, Vang restores a vital narrative in danger of being lost, and brilliantly explores what it means to have access to the truth and how marginalized groups are often forbidden that access.
The instant #1 New York Times, Wall Street Journal, and USA Today bestseller The breakout poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman Formerly titled The Hill We Climb and Other Poems, the luminous poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman captures a shipwrecked moment in time and transforms it into a lyric of hope and healing. In Call Us What We Carry, Gorman explores history, language, identity, and erasure through an imaginative and intimate collage. Harnessing the collective grief of a global pandemic, this beautifully designed volume features poems in many inventive styles and structures and shines a light on a moment of reckoning. Call Us What We Carry reveals that Gorman has become our messenger from the past, our voice for the future.
Longlisted for the National Book Award "Mind-blowing." —Kim Gordon DEADPAN, EPIC, AND SEARINGLY CHARISMATIC, A Sand Book chronicles climate change and climate grief, gun violence and bystanderism, state violence and complicity, mourning and ecstasy, sex and love, and the transcendent shock of prophecy, tracking new dimensions of consciousness for our strange and desperate times.
Nominee for the 2021 NAACP Image Award in Poetry An elegiac and moving meditation on the ways in which we witness "bodies" of grief and healing. Poems and photographs collide in this intimate collection, challenging the invisible, indefinable ways mourning takes up residence in a body, both before and after life-altering loss. In radiant poems—set against the evocative and desperate backdrop of contemporary events, pop culture, and politics—Rachel Eliza Griffiths reckons with her mother’s death, aging, authority, art, black womanhood, memory, and the American imagination. The poems take shape in the space where public and private mourning converge, finding there magic and music alongside brutality and trauma. Griffiths braids a moving narrative of identity and its possibilities for rebirth through image and through loss. A photographer as well as a poet, Griffiths accompanies the fierce rhythm of her verses with a series of ghostly, imaginative self-portraits, blurring the body’s internal wilderness with landscapes alive with beauty and terror. The collision of text and imagery offers an associative autobiography, in which narratives of language, absence, and presence are at once saved, revised, and often erased. Seeing the Body dismantles personal and public masks of silence and self-destruction to visualize and celebrate the imperfect freedom of radical self-love.