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Inspired by Geoffrey Chaucer's The Canterbury Tales, this collection of loosely linked tragicomic short stories travels across time to explore defining moments in the island's history, from the 2003 Staten Island Ferry crash and the New York City blackout to the growing opioid and heroin crisis, Eric Garner's murder, and the 2016 presidential election.
Ten stories. Three cycles. Fists and possums and gunfighters and penises and hookers and short buses and dead babies and fireworks. The stories in this collection originally appeared in: HOBART, FICTION INTERNATIONAL, KITTY SNACKS, TEXAS OBSERVER, NEW BORDER and THE PURITAN.
No trends. No fun. No praise. No blurbs. No trends. No fun. No praise. No blurbs. No trends. No fun. No praise. No blurbs. No trends. No fun. No praise. No blurbs. No trends. No fun. No praise. No blurbs. No trends. No fun. No praise. No blurbs. No trends. No fun. No praise. No blurbs.
A T. S. Eliot Prize–winning collection from one of Ireland's major contemporary poets PARALLAX: (Astron.) Apparent displacement, or difference in the apparent position, of an object, caused by actual change (or difference) of position of the point of observation. (OED) In Parallax Sinéad Morrissey documents what is caught, and what is lost, when houses and cityscapes, servants and saboteurs ("the different people who lived in sepia"), are arrested in time by photography (or poetry), subjected to the authority of a particular perspective. Assured and disquieting, Morrissey's poems explore the paradoxes in what is seen, read, and misread in the surfaces of the presented world.
***2019 NATIONAL BOOK AWARD FINALIST*** Winner of the Arab American Book Award in Fiction Finalist for the Kirkus Prize in Fiction Finalist for the California Book Award Longlisted for the Aspen Words Literary Prize A Los Angeles Times bestseller Named a Best Book of the Year by The Washington Post, Time, NPR, Minneapolis Star Tribune, Dallas Morning News, The Guardian, Variety, and Kirkus Reviews Late one spring night in California, Driss Guerraoui—father, husband, business owner, Moroccan immigrant—is hit and killed by a speeding car. The aftermath of his death brings together a diverse cast of characters: Guerraoui's daughter Nora, a jazz composer returning to the small town in the Mojave she thought she'd left for good; her mother, Maryam, who still pines for her life in the old country; Efraín, an undocumented witness whose fear of deportation prevents him from coming forward; Jeremy, an old friend of Nora’s and an Iraqi War veteran; Coleman, a detective who is slowly discovering her son’s secrets; Anderson, a neighbor trying to reconnect with his family; and the murdered man himself. As the characters—deeply divided by race, religion, and class—tell their stories, each in their own voice, connections among them emerge. Driss’s family confronts its secrets, a town faces its hypocrisies, and love—messy and unpredictable—is born. Timely, riveting, and unforgettable, The Other Americans is at once a family saga, a murder mystery, and a love story informed by the treacherous fault lines of American culture.
In this dynamic collection of short stories, including eight from Winners on the Pass Line (1985), Dagoberto Gilb captures the texture of the Southwest's working class in clear, ironic, and bitingly realistic fiction about regular people going about their complex lives.
With acerbic aplomb, Jillian Weise's latest collection of poems investigates disability and ableism in the literary canon.
Shirley Temple tap dancing at the Kiwanis Club, Stevie Nicks glaring at Lindsey Buckingham during a live version of “Silver Springs,” Frank Ocean lyrics staking new territory on the page: this is a taste of the cultural landscape sampled in Your New Feeling is the Artifact of a Bygone Era. Chad Bennett casually combines icons of the way we live now—GIFs, smartphones, YouTube—with a classical lover’s lament. The result is certainly a deeply personal account of loss, but more critically, a dismantling of an American history of queerness. “This is our sorrow. Once it seemed theirs, but now it’s ours. They still inhabit it, yet we say it’s ours.” All at once cerebral, physical, personal, and communal, Your New Feeling Is the Artifact of a Bygone Era constructs a future worth celebrating.
The 2021 edition of the leading collection of contemporary American poetry is guest edited by the former US Poet Laureate Tracy K. Smith, providing renewed proof that this is “a ‘best’ anthology that really lives up to its title” (Chicago Tribune). Since 1988, The Best American Poetry series has been “one of the mainstays of the poetry publication world” (Academy of American Poets). Each volume presents a choice of the year’s most memorable poems, with comments from the poets themselves lending insight into their work. The guest editor of The Best American Poetry 2021 is Tracy K. Smith, the former United States Poet Laureate, whose own poems are, Toi Derricotte’s words, “beautiful and serene” in their surfaces with an underlying “sense of an unknown vastness.” In The Best American Poetry 2021, Smith has selected a distinguished array of works both vast and beautiful by such important voices as Henri Cole, Billy Collins, Louise Erdrich, Nobel laureate Louise Glück, Terrance Hayes, and Kevin Young.
From undocumented men named Angel, to angels falling from the sky, Natalie Scenters-Zapico’s gripping debut collection, The Verging Cities, is filled with explorations of immigration and marriage, narco-violence and femicide, and angels in the domestic sphere. Deeply rooted along the US-México border in the sister cities of El Paso, Texas, and Cd. Juárez, Chihuahua, these poems give a brave new voice to the ways in which international politics affect the individual. Composed in a variety of forms, from sonnet and epithalamium to endnotes and field notes, each poem distills violent stories of narcos, undocumented immigrants, border patrol agents, and the people who fall in love with each other and their traumas. The border in Scenters-Zapico’s The Verging Cities exists in a visceral place where the real is (sur)real. In these poems mouths speak suspended from ceilings, numbered metal poles mark the border and lovers’ spines, and cities scream to each other at night through fences that “ooze only silt.” This bold new vision of border life between what has been named the safest city in the United States and the murder capital of the world is in deep conversation with other border poets—Benjamin Alire Saenz, Gloria Anzaldúa, Alberto Ríos, and Luis Alberto Urrea—while establishing itself as a new and haunting interpretation of the border as a verge, the beginning of one thing and the end of another in constant cycle.