Winner of the 2008 Paterson Award for Literary Excellence
"Weaver has crafted a virtual planet in this book with plenty of alternate geographies for readers of all flavors and stripes. Marvelous. Huge. Prodigious.”
—North American Review
“Hearing the click behind him, Parker threw his glass straight back over his right shoulder, and dove off his chair to the left.” When a job looks like amateur hour, Parker walks away. But even a squad of seasoned professionals can’t guarantee against human error in a high-risk scam. Can an art dealer with issues unload a truck of paintings with Parker’s aid? Or will the heist end up too much of a human interest story, as luck runs out before Parker can get in on the score?
In this, the fourth volume to win the Brittingham Prize in Poetry, Lisa Zeidner’s twenty-two poems introduce a surprising range of characters, from a cryogenically preserved caveman to a 78-year-old widow arrested for shoplifting. Some of the narratives collected here are unusually long (like “Dementia Colander,” a mock-epic about the history of an unnamed nation whose king suffers a rare disease). These poems attempt to offer not just poetic moments, glimpses of joy or loss, but a sense of self in time and history—whole lives in all of their busy-ness and disorder. Lisa Zeidner’s dark wit considers any subject, from the Holocaust to child abuse, a subject for intellectual playfulness and emotional discovery.
Despite the range of subjects, the poems in Pocket Sundial are bound by a concern for time, for how we think about time. These are poems about memory, foresight, anticipation, regret—all of chronology’s complexities.
Selma detests my small considerations of strangers. When she catches me nodding at the panhandlers she ignores, or opening doors for women I don't know, she says nothing, but holds herself tall and aloof. She is doing it for the both of us. She is compensating for what she believes is a weakness in her husband that, even in this day and age, a black man still cannot afford. And she may be right. But at this stage of my life I feel not so much black or male, middle-aged or well-to-do or professional, as incomplete. I am son to my father, father to my boys, husband to my unhappy wife, but somehow more lost than found in the mix.
Jen Beagin’s funny, moving, fearless debut novel introduces an unforgettable character, Mona—almost 24, cleaning houses to get by, emotionally adrift. Handing out clean needles to drug addicts, she falls for a recipient who proceeds to break her heart in unimaginable ways. She decamps to Taos, New Mexico, for a fresh start, where she finds a community of seekers and cast-offs. But they all have one or two things to teach her—the pajama-wearing, blissed-out New Agers, the slightly creepy client with peculiar tastes in controlled substances, the psychic who might really be psychic. Always just under the surface are her memories of growing up in a chaotic, destructive family from which she’s trying to disentangle herself. The story of her journey toward a comfortable place in the world and a measure of self-acceptance is psychologically acute, often surprising, and entirely human.
You could find out anything at Jim's, and Larry and I liked to be in the know. Information (not gossip) was passed back and forth constantly. Did you hear about the four couples engaged in "wife- swapping" in town? The mechanics and gas pumpers at Jim's could fill you in. Were you interested in the last time the Baptist minister beat his wife? Who your cute French teacher slept with a couple nights ago? Jim's had the answers. The place held another attraction for me: if you were under twenty-one and wanting some liquor for Friday night, Jim's son, Jimmy the Bomb, just out of the Marine Corps, had no problem picking up a bottle or two for you at the liquor store on the east side of town.
Set mainly in the Midwest, these tales are inhabited by ordinary, decent people who, often to their surprise, find joy and meaning under difficult circumstances. Many of the stories depict isolated moments of perfection in a world that routinely forces its imperfections on us. A teenager wrestles with guilt over an accident he caused in “Perfection in Bad Axe.” In “A Knight Pursued,” a young prosecuting attorney confronts on the same day his first autopsy and his wife’s unexpected desire to have a baby. A devout, hardworking business owner is drawn into a lawsuit that threatens his marriage and leads him to question his most deeply felt principles. “Center of Gravity” finds a middle-aged law professor overcome by his chaotic life and searching for a degree of peace. These are the finely developed characters of Bernthal’s stories—people we recognize, but who never seem overly familiar. Interesting, substantial, and utterly engrossing, each one could be just like any one of us, an ordinary Jane or Joe, trying to maintain or find order in a life sometimes filled with disorder.
Secrets and snakes, rock and gospel, guilt and grace.
The Psalms of Israel Jones is the story of a father and son’s journey towards spiritual redemption. This novel tells the tale of a famous father trapped inside the suffocating world of rock and roll, and his son who is stranded within the bounds of conventional religion.
When Reverend Thomas Johnson receives an anonymous phone call, he learns his Dylanesque rock star father is acting deranged on stage, where he’s being worshipped by a cult of young people who slash their faces during performances. In his declining years, Israel Jones has begun to incite his fans to violence. They no longer want to watch the show—they want to be the show.
Eager to escape troubles with his congregation as well as gain an apology from his dad for abandoning his family, Reverend Johnson leaves town and joins Israel Jones’s Eternal Tour. This decision propels him to the center of a rock and roll hell, giving him one last chance to reconnect with his father, wife, congregation—and maybe even God.
The Psalms of Israel Jones is the 2010 Hackney Literary Award winner for an unpublished manuscript.
Council for Wisconsin Writers, Norbert Blei/August Derleth Nonfiction Book Award winner
In this often-surprising book of essays, Krista Eastman explores the myths we make about who we are and where we’re from. The Painted Forest uncovers strange and little-known “home places”—not only the picturesque hills and valleys of the author’s childhood in rural Wisconsin, but also tourist towns, the “under-imagined and overly caricatured” Midwest, and a far-flung station in Antarctica where the filmmaker Werner Herzog makes an unexpected appearance.
The Painted Forest upends easy narratives of place, embracing tentativeness and erasing boundaries. But it is Eastman’s willingness to play—to follow her curiosity down every odd path, to exude a skeptical wonder—that gives this book depth and distinction. An unlikely array of people, places, and texts meet for close conversation, and tension is diffused with art, imagination, and a strong sense of there being some other way forward. Eastman offers a smart and contemporary take on how we wander and how we belong.
Finalist, 2017 Miller Williams Poetry Prize, edited by Billy Collins
“A poet of great heart and brave directness.”
—Billy Collins
In Protection Spell Jennifer Givhan explores the guilt, sadness, and freedom of relationships: the sticky love that keeps us hanging on for no reason other than love, the inky place that asks us to continue revising and reimagining, tying ourselves to this life and to each other despite the pain (or perhaps because of it). These poems reassemble safe spaces from the fissures cleaving the speaker’s own biracial home and act as witnesses speaking to the racial iniquity of our broader social landscape as well as to the precarious standpoint of a mother-woman of color whose body lies vulnerable to trauma and abuse. From insistent moments of bravery, a collection of poems arises that asks the impossible, like the childhood chant that palliates suffering by demanding nothing less than magical healing: sana sana colita de rana, si no sanas hoy, sanas mañana (the frog who loses his tail is commanded to grow another). In the end, Givhan’s verse offers a place where healing may begin.
Photographing Eden presents the first full-length collection of poems by a major new talent. The work meditates on several ideas, the crux of which is Eden: spirituality, environmentalism, and the relationships between men and women. Observing, often through the lens of a camera, our state in the world, the poems try to focus sharply on what often seems a blur. The poems are always attentive to artistic mediums and the craft behind them because our struggle is to make something perfect in the imperfect world in which we live, while acknowledging the impossibility of that quest. Gray’s poems range all over, from adventures in Egyptian ruins with machine-gun-toting tourist police to the western edge of the foggy Irish coastline, and to the mythic past, where Adam and Eve visit a zoo and Eden has become a nature preserve.
The Panza Monologues is an original solo performance piece based on women's stories about their panzas—tú sabes—that roll of belly we all try to hide. Written, compiled, and collected by Virginia Grise and Irma Mayorga and fashioned into a tour-de-force solo performance, The Panza Monologues features the words of Chicanas speaking with humor and candor. Their stories boldly place the panza front and center as a symbol that reveals the lurking truths about women's thoughts, lives, loves, abuses, and living conditions.
This second edition of The Panza Monologues presents the performance script in its entirety, as well as a rich supporting cast of dramaturgical and pedagogical materials. These include a narrative history of the play’s development by the playwrights; critical materials that enhance and expand upon the script’s themes and ideas (a short introduction to San Antonio, where the play was developed; playwright autogeographies; and a manifesto on women of color making theater); and a selection of pedagogical and creative ideas, including guidelines and advice for staging a production of the play and for teaching it in the classroom, community-making activities (screenings, hosting “Panza Parties,” community/group discussions), and creative writing activities connected to the play.
Winner of the 2010 Drue Heinz Literature Prize
The Physics of Imaginary Objects, in fifteen stories and a novella, offers a very different kind of short fiction, blending story with verse to evoke fantasy, allegory, metaphor, love, body, mind, and nearly every sensory perception. Weaving in and out of the space that connects life and death in mysterious ways, these texts use carefully honed language that suggests a newfound spirituality.
Avenging Chicagoans form a league for justice in Ike Holter’s superhero-inspired play, Prowess. In this heartfelt yet fantastical homage to Chicago, award-winning playwright Ike Holter introduces us to a quartet of “average” citizens who have been the victims of violence and felt powerless because of it.
In the face of the city’s seemingly intractable ills, the play’s characters join forces to rescue Chicago—and themselves. But how? With heart, wit, and wisdom, Holter explores how one responds to violence. Does a person focus on self-defense and personal survival? Or fight back—with more violence? Pulsating and physical, Prowess is about vulnerability, vigilantism, heroism, and self-knowledge.
Prowess is one of seven plays in Holter’s Rightlynd Saga, all to be published by Northwestern University Press. The other plays in the cycle are Rightlynd, Exit Strategy, Sender, The Wolf at the End of the Block, Red Rex, and Lottery Day.
Pitch Dark Anarchy investigates the danger of one single narrative with multilayered poems that challenge concepts of beauty and image, race and identity, as well as the construction of skin color. Through African American memory and moments in literature, the poems seek to disrupt and dismantle foundations that create erasures and echoes of the unremembered. Pitch Dark Anarchy uses the slave revolt of the Amistad as a starting point, a metaphor for "opposition" and "against." These themes run through the very core for the book while drawing on inventive and playful language. The poems bring to life human experiences and conditions created by an "elite" society. In these poems, locations and landscapes are always shifting, proving that our shared experiences can be interchangeable. At the very core of Pitch Dark Anarchy is a seven-part poem based on the artist Margret Bowland’s "Another Thorny Crown Series," which are paintings of an African American girl in white face.
Through innovative formal and visual techniques, such as fractured syntax and typographical disruption, Horton evokes the disorienting experiences of urban life, while also calling into question the complicity of language in the oppressive structures he anatomizes.
The Agha Shahid Ali Prize in Poetry was inaugurated in 2003 to honor the late poet, a nationally recognized author of numerous collections of poetry and a former professor at the University of Utah, and is sponsored by the University of Utah Press and the University of Utah Department of English. In Persuasion of Fall, the first prizewinning volume of the annual competition, Ann Lauinger celebrates the quotidian in ways that are wise, uncompromising, and sometimes sly in their playfulness.
PLEASURE is a book-length poem which muses on the phenomenology of solitude in a pastoral landscape, written in a diaristic, lyric mode, where the queer “I” alternately savors the decadence of isolation and stands at the precipice of despair. A travelogue in verse, PLEASURE takes place in Syros, the Greek island to which author Angelo Nikolopolous travels a few weeks after the discovery of his mother’s brain tumor. These intertextual, elliptical explorations of solitude and sensuality interweave images of seaside roaming, secluded town life, and ephemeral sexual encounters with the ubiquitous implication of death—the waning summer, the ill, perhaps dying, mother. Staring down true disconnection—both physical and psychic orphanhood —Nikolopoulos writes about the thrill and sadness of turning your back against the world and those in it only to rediscover that which tethers all to human experience: the quotidian, singular pleasures of having a body.
In this brief but staggering two-act, playwright Norris demonstrates his skill at drawing out the dark truth that lurks beneath the surface of the “perfect” family. His crackling satire takes dead aim at the self-satisfied, left-leaning American upper-middle class and its many self-delusions.
On a winter afternoon, Kelly and Clay—an attractive, prosperous, seemingly happy couple with a four-year-old daughter and a newborn baby—must explain to a visitor the events of the previous Thanksgiving, on which, so it seems, someone or something had been gnawing at the avocados on their kitchen table. In the course of this holiday gathering—attended by Clay’s mother, a well-meaning but clueless first-grade teacher who spouts pointless liberal bromides; his brother, a plastic surgeon with a nihilistic streak and a taste for martinis; and his brother's girlfriend, a sexy Balkan immigrant with a love for all things American (racism included)—the recent past is unearthed along with revelations of failed marriages, fraternal hatred, infidelity and venereal disease, in the form of their daughter’s nasty genital infection. And it’s a comedy. As the story is gradually unfolded to their visitor, a Muslim cab driver, his relationship to the events becomes increasingly clear, as does the emptiness of the family’s supposed benevolence and sensitivity.
With its crashing emotion and cutting humor, this vicious dissection of the comfortable progressive life lays bare the lies that people use to feel righteous even as they veer off a genuinely ethical path.
"There is something in American poetry that might be called the book of the small town or, equally, the tale of the good family; or, if you like, the American Grafitti Suite. Poems that discover life's bonuses in new love, wise parents, old books, venerable nature, and the mysteries of all that endures in the face of the viciousness no life escapes--are, well, worth the wait. That’s how I feel about Paper Anniversary. His poems are full of the best news, the kind the soul, as W. C. Williams attested, can get nowhere better than in the life of the lively mind. I think any reader will find this an auspicious, welcome arrival."
--Dave Smith
"In his superb Paper Anniversary, Bobby Rogers is a near mystic of the domestic because love of family and landscape is connected to the eternal--and if not the eternal, our longing for love to last. Rogers is a meditative poet, then, one who knows language and memory are inadequate to hold love in an abiding present: 'But ownership is the last lie/we tell ourselves--nothing goes unshared.' So his moving, widely thoughtful, and commodious poems are full of joy tinged with elegy."
--Andrew Hudgins
Bobby C. Rogers is professor of English at Union University in Jackson, Tennessee. His poems have appeared in the Southern Review, the Georgia Review, Image, Shenandoah, Puerto del Sol, and numerous other magazines. He is the recipient of the Greensboro Review Literary Prize in Poetry and has twice been nominated for a Pushcart Prize.
The twelve stories in The Prisoner Pear: Stories from the Lake take place in an affluent suburb of Portland, Oregon, but they could be taken from any number of similar enclaves across the United States. These stories infuse stark reality with occasional hints of magical realism to explore what the American dream means to twenty-first-century suburbanites. In a city where the homecoming queen still makes the front page of the weekly newspaper, ducks caught in storm drains and stolen campaign signs make up the bulk of the paper’s crime reports. The community’s hidden complexities, however, rival those of Sherwood Anderson’s Winesburg, Ohio.
Each of the stories begins with an entry from the newspaper’s police blotter. Elissa Minor Rust fills in the background to these small, odd events-a headless parakeet found in a mailbox, a nude jogger, an alarmingly deathlike discarded teddy bear. Her stories, both humorous and disturbing, probe beneath the clear, hard surface of a community into the murky depths beneath.
The lake at the center of town is a constant in the lives of this town’s people, and it reappears throughout the book as a symbol of wealth and power, of love and loss. The Prisoner Pear offers a rare look inside the heart of suburban America. Reading these stories is, as one character observes, “like seeing the town from the inside out, as if the lake was its heart and the rest merely its bones and skin.”
The focus of Present Past is her life after the Shoah. Rejecting stereotypes of survivors as traumatized or broken, Schieber is stark yet exuberant, formidable yet nuanced. The woman who emerges in Schieber’s Present Past is a multifaceted, heterogeneous figure—poet, artist, and survivor. In it, she plays the passionate observer who dispassionately curates the kaleidoscopic memories of her tumultuous personal and professional life in Belgrade, Prague, Tel Aviv, New York, and Chicago.
Organized into thirteen chapters, each a blend of images, poems, and narrative, this moving new work offers myriad points of entry to readers of these genres, those fascinated in the relationship between the Holocaust and art, as well as readers interested in memory and survivorship.
WINNER OF THE 2010 AGNES LYNCH STARRETT POETRY PRIZE
“Glenn Shaheen is claiming new ground for American poetry. His poems are about the nightmares of information overload, collapsing infrastructure, ubiquitous violence, and other ills of late empire. The subjects are not happy, but Shaheen's clear vision and crisp—often witty—language offer the pleasures of surprise, discovery, and recognition.”
—Ed Ochester
I knew the secret as a child before anyone else did—that God planted the Garden of Eden just seventy-five kilometers south of Mexico City, near the town of Cuernavaca. He scattered seeds so only the most colorful flowers and the best climbing trees would grow in that semitropical paradise. He filled the stables with the fastest, strongest Arabians; mother’s aviary with more birds than anywhere else in the world. Then he constructed a wall twice as tall as Father and encircled our Eden to keep it safe. We named the garden the Hacienda of San Serafin. I swore that I would spend the rest of my life there, where nothing bad ever happens . . .
Captain Benjamín Nyman Vizcarra, son of the wealthiest man in Mexico, has everything a young man could want. But in the days leading up to the Mexican Revolution of 1910, he finds himself questioning whether he can support the old regime—and more and more distracted by his brother’s bewitching fiancee, Isabel. Setting out to expose her as a gold-digger, he instead falls deeply in love, setting himself on a path that leads to war, poverty, and alienation from his family.
Accused and convicted of his father’s murder after a fateful late-night encounter, Benjamín faces his inner demons, beginning a process that Swedenborg describes as regeneration. As he plots escape with a fellow prisoner, a Tarahumara Indian known only as El Brujo, he relives his love affair and eventual marriage to Isabel. A new question begins to form: will he run, or will he stay to confront his mistakes and win back the woman he loves?
Penumbra—Michael Shewmaker’s debut collection—explores the half-shadows of a world torn between faith and doubt. From intricate descriptions of the rooms in a dollhouse, to the stark depiction of a chapel made of bones, from pre-elegies for a ghostly father, to his compelling treatment of his obsessed, human characters (a pastor, a tattoo artist, a sleepwalker, to name only a few), these are poems that wrestle with what it means to believe in something beyond one’s own mortality. Learned and formally adept, these poems consist of equal parts praise and despair. They announce Shewmaker as an important new voice in American poetry.
Planted by the Signs brings us the contemporary Appalachian poetry—cultivated in the dirt of Elliott County, Kentucky—of Misty Skaggs. With an eye for details that exquisitely balance personal and social observation to communicate volumes, she tells the stories of generations of women who have learned to navigate a harsh world with a little help from the Farmers’ Almanac and the stars. The collection is separated into three sections that reference the best times to grow and harvest. Knowing and following these guidelines—planting by the signs—could mean the difference between prosperity and tragedy in the lives of Appalachian families.
Personal, political, and passionate, Planted by the Signs also explores what it means for Skaggs to care for her great-grandmother at the end of her life. Color photos by the poet further showcase her sidelong and fierce outlook. The images and poems together deliver an intimate look into the day-to-day reality of a backwoods woman embracing barefooted radicalism in the only place she could call home.
In this sophisticated debut collection, Ronald F. Smits deftly weaves the comic with the tragic as he vividly recreates days past in rural Pennsylvania. With a boyish charm, the eighty poems in Push lyrically recall baseball games, campouts under the stars, and dusty treks along lonely back roads—bringing to life a vision of mid-century America that is by turns nostalgic and clear-eyed, humorous and heartfelt. A masterly evocation of a place and a time that feel quintessentially American, Push opens our eyes to the twinned power of literature and memory.
In Persephone in America, Alison Townsend deftly weaves autobiography with myth in this reinvention of the tale of Demeter and Persephone as seen from the modern woman’s perspective. Fraught with emotional honesty, this captivating collection of lyrical and narrative poems chronicles the struggles of the figurative Persephone in three parts—the abduction, descent to the underworld, and return. Townsend turns a shrewd eye to her own experiences, as well as to the lives of other women, to offer an unflinching yet deeply compassionate exploration of such themes as girlhood and the vulnerability of the motherless; the demons of depression, addiction, and abuse; as well as passion, aging, and celebration of the natural world.
Although the poems traverse dark emotional territory at times, the picture that emerges ultimately is one of revelation and wisdom. Persephone in America is above all a journey of the soul, following the narrator as she explores what it means to be a woman in America, at times descending into darkness, only to emerge into redemption and realize “time’s sweet and invincible secret—that everything repeats—and we watch it.” Townsend’s candid portrait of female loss and discovery seeks to illuminate the truths inherent in myth, and the awakenings that hide in our darkest moments.
Persephone, Pretending(Madison, Wisconsin)
When the news says that the girl
who had been missing almost four days,
only to be found in a marshy area
at the edge of our medium-sized city,
was faking it all along, I wondered
what made her do it. I'd seen
her face—bright smile, dark eyes—
on a flier masking-taped to a pillar
at the airport the week before,
felt the involuntary frisson
of the curious, then only fear
at the thought of a girl abducted
in this place once voted
"America's most livable city."
She must have wanted
something she couldn't name,
that good girl with good grades
who looks like so many girls
in my own classes, but who keeps
changing her story. It happened
here; no, it happened there; no,
I really just wanted to be alone.
Then she turns her face away,
tired of telling her tale,
not sure what to make up next
or where invention will take her.
“Fictitious victimization disorder,”
Time magazine claims, but I wonder
what else, imagining her in the marsh,
cold, unrepentant, powerless, her mind
gone muddy with lack of sleep,
no way out of this lie she almost
believes, or the lies ahead,
nothing but memory of the rope,
duct tape, cough medicine,
and knife she bought at the PDQ
with her own cash, wanting
to be taken by someone so badly,
she takes us, she does it to herself.
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