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Audacious and highly innovative collection that cunningly engages with the assumptions and boundaries around translation, identity, and gender.

Audacious and highly innovative collection that cunningly engages with the assumptions and boundaries around translation, identity, and gender.

Nakayasu Sawako: Some Girls Walk into
the Country They Are From

Some Girls Walk into the Country They Are From

Borrowing its title from a finance term-"the estimated price of a good or service for which no market price exists"-Shadow Price is a stunning debut that examines the idea of value in a world that burns under our capitalist lens.&nbsp;
&nbsp;What gives life value? How do we serve existing societal structures that determine its cost? Employing both surreal and documentary imagery, Farah Ghafoor's arresting collection articulates how narrative is used to revise the past and manipulate the future, ultimately forming our present-day climate crisis. Interrogating personal complicity, generational implications, and the shock of our collective disregard for a world that sustains every living thing, Shadow Price captures the complexities of living and writing as a young poet born in the year that "climate change denial" first appeared in print. Mourning the loss of Earth's biodiversity, from insects to mammoths to trees, these introspective poems invite us to consider the risks and rewards of loving what may vanish in our lifetime.&nbsp;
Shadow Price charges readers to contemplate their power and purpose in the world today, recognizing that there is hope even in the belly of the beast.

Poems

Shadow Price

The most comprehensive collection of writing by award-winning US poet, renowned translator of Sappho, and trailblazing archivist Mary Barnard.

Complete Poems and Selected Translations

Mary Barnard

100 life-affirming poems and remedies for anyone searching for love, meaning, belonging, purpose and hope in their everyday lives.

Poetic Remedies for Every Occasion

100 Poems to Live By

"From TikTok phenomenon Whitney Hanson, a revised edition of her bestselling Climate, now with a new introduction and more than a dozen new poems i don't worry about the weather anymore when it rains, i dance when the sun shines, i dance through it all, i will dance -from Climate Honest, poignant, and relatable, Climate is a journey in embracing change both internally and externally. It guides us through all the weather we may face, from the stormy heartbreak to the foggy mental space to the sunny other side. Climate reminds us to embrace it all. The only constant in life is change, and that is a beautiful thing"--

Climate

"Majestic, playful, brainy, heart-wrenching, Katharine Coles's tenth collection of poems at once celebrates and elegizes: her teachers and parents-both dead at ninety-who still issue advice (some good, some not) from beyond the grave; the creatures who pass through her canyon quarter-acre; the moon as it rises and sets; even her Levi's shrink-to-fits, when she realizes she'll never wear out another pair. The poems "guide us with their empathy, sometimes yoked with a wry irony, around the physics of interactions." [John Kinsella] More than anything, this is a book about presence: haunted by the past yet firmly rooted in the also-haunting now, Coles keeps spinning, finding herself in words, in her body, in time"--

Time and Chance

THE POEMS
You fell asleep on the tiles, 
 a translucent peacock loomed, 
 your sex opened and let out 
 a very blue, very high flame.
 

You wore a split veil, that morning.
&nbsp;
Silent, nailed to her chair, the seated woman writes. She cracks. The poems fidget, slip their fingers: they seek to enter. Perched on her shoulder, the poems whisper in her ear. She captures their messages: "I love the sacred contortions you offer me." The poems protest: "You're squeezing us too hard: careful, pet."
More than descriptors, the words behave as commands or moves in a game-and the voice of the seated woman rises to play.

The Seated Woman

Amber Dawn's latest poetry collection flaunts the chronically pained body as a source of lewd feminine power As a novelist, memoirist, and poet, Amber Dawn regularly lays her heart bare in work that is fiery, raw, and intensely personal. In Buzzkill Clamshell, her third poetry collection, Amber Dawn circumvents the expectations of so-called confessional poetry, offering twisted mythmaking, extreme hyperbole, and lyrical gutter-mouthing that explore themes of sick and disabled queerness, aging, and desire. With poems populated by severed heads, domme swan maidens, horny oracles, and other horrible purveyors of pleasure, Buzzkill Clamshell reads as if a leather dyke and a demonic goat had a baby―gleefully embracing the perverse while stomping its way through chronic pain and complex PTSD. Already acclaimed for her candid and often kinky verse, Amber Dawn pushes further into trauma-informed eroticism with self-assured irreverence and uncomfortable abjectivity. Beneath her brilliant, carnivalesque imagery lies a prayer―not for the pain to end, but for finding fantastic new ways to cope with it.

Buzzkill Clamshell

Radiant poems from the bestselling author of Memphis

Magic Enuff

Obsessive love has never been so much fun! What She Wants: Poems on Obsession, Desire, Despair, Euphoria is a powerful tribute to the intensity of obsessive love, told through the trademark humor and heartbreak of bestselling poet Kim Dower.
Following the commercial and literary success of her bestselling poetry collection, I Wore This Dress Today for You, Mom: Poems on Motherhood, Kim Dower delivers What She Wants: Poems on Obsession, Desire, Despair, Euphoria—turning her keen eye, vibrant imagination, trademark insight, and humor to the intensity of obsessive love. These steamy and provocative poems, combining humor and heartache, run through the four phases of Limerence, the state of being infatuated or obsessed with another person: Infatuation, Crystallization, Deterioration, and Ecstatic Release. From the opening poem, “She’ll do anything for food,” to the sexy title poem, “What She Wants,” the painfully funny, “His Other Girlfriend,” to the longing in “Visiting Baudelaire,” and the sad, sweet final poem, “Fish’s Lament,” Kim Dower captures the essence of what it means to be stuck on someone—even on a squirrel! Her eclectic, growing readership will savor these poems that can be read in one sitting, like a story with an arc, or separately, each one recalling the moment of falling in or out of love, the moment our hearts skipped a beat.

Obsessive love has never been so much fun! What She Wants: Poems on Obsession, Desire, Despair, Euphoria is a powerful tribute to the intensity of obsessive love, told through the trademark humor and heartbreak of bestselling poet Kim Dower.
Following the commercial and literary success of her bestselling poetry collection, I Wore This Dress Today for You, Mom: Poems on Motherhood, Kim Dower delivers What She Wants: Poems on Obsession, Desire, Despair, Euphoria—turning her keen eye, vibrant imagination, trademark insight, and humor to the intensity of obsessive love. These steamy and provocative poems, combining humor and heartache, run through the four phases of Limerence, the state of being infatuated or obsessed with another person: Infatuation, Crystallization, Deterioration, and Ecstatic Release. From the opening poem, “She’ll do anything for food,” to the sexy title poem, “What She Wants,” the painfully funny, “His Other Girlfriend,” to the longing in “Visiting Baudelaire,” and the sad, sweet final poem, “Fish’s Lament,” Kim Dower captures the essence of what it means to be stuck on someone—even on a squirrel! Her eclectic, growing readership will savor these poems that can be read in one sitting, like a story with an arc, or separately, each one recalling the moment of falling in or out of love, the moment our hearts skipped a beat.

Poems on Obsession, Desire, Despair, Euphoria

What She Wants

A debut poetry collection about reconciling with oneself and learning to love, through a youthful, queer diasporic Korean lens Lotus flowers, youthful hunger, and other temporary beauties intertwine to tell this coming-of-age story, a set of pulsating poems that move toward a distant memory or a flaming future. Kyo Lee's intimate debut poetry collection is simultaneously a vulnerable confession and a micro study of macro topics including lineage, family, war, and hope. i cut my tongue on a broken country explores the Asian American diaspora, queerness, girlhood, and the relationships between and within them, pushing and pulling on the boundaries of identity and language like a story trying to tell itself. i cut my tongue on a broken country documents a search for love. It's a eulogy for the things we gave up to get here. It's an ode to tenderness. It blossoms and bleeds in your hands.

i cut my tongue on a broken country

In a wide range of lyrically rich poems, award-winning poet Jonathan Fink interrogates the perpetual mysteries and resonances at the convergence of national identity, historical influence, and personal experience. In Don’t Do It—We Love You, My Heart, Jonathan Fink interweaves a welcome range of poetic styles including expansive, narrative poems, shorter, lyrical poems, and intricate one-sentence poems that are sustained over multiple pages to deliver his most intimate collection to date. Charting changing national and personal landscapes, Fink’s writing explores such diverse subjects as growing up in West Texas at the conclusion of the Cold War; ekphrastic poems about the paintings of Goya, Leonardo da Vinci, and the Isabella Stewart Gardner Museum art theft; the intuitive language he shares with his infant daughter on a quiet evening before she falls asleep; and the famous story of a suicide prevented on the George Washington Bridge—the jumper stayed by the man who tells him, “Don’t do it–we love you, my heart.” The imperative, urgent compassion conveyed in the stranger’s command thrums through all the poems in this collection, compelling the reader outward to deeper connections and lived empathy.

In a wide range of lyrically rich poems, award-winning poet Jonathan Fink interrogates the perpetual mysteries and resonances at the convergence of national identity, historical influence, and personal experience. In Don’t Do It—We Love You, My Heart, Jonathan Fink interweaves a welcome range of poetic styles including expansive, narrative poems, shorter, lyrical poems, and intricate one-sentence poems that are sustained over multiple pages to deliver his most intimate collection to date. Charting changing national and personal landscapes, Fink’s writing explores such diverse subjects as growing up in West Texas at the conclusion of the Cold War; ekphrastic poems about the paintings of Goya, Leonardo da Vinci, and the Isabella Stewart Gardner Museum art theft; the intuitive language he shares with his infant daughter on a quiet evening before she falls asleep; and the famous story of a suicide prevented on the George Washington Bridge—the jumper stayed by the man who tells him, “Don’t do it–we love you, my heart.” The imperative, urgent compassion conveyed in the stranger’s command thrums through all the poems in this collection, compelling the reader outward to deeper connections and lived empathy.

Don't Do It, We Love You, My Heart

"Winner of the Jake Adam York Prize, this collection of poems seeks answers about how to live meaningfully in a world saturated by white noise"--

Winner of the Jake Adam York Prize, this collection of poems seeks answers about how to live meaningfully in a world saturated by late capitalism.“The question isn’t / what exists,” writes Sarah V. Schweig in her engrossing and prize-winning collection, “The question is what doesn’t / die with us?” Positioned from within the morass of modern-day living, The Ocean in the Next Room searches for the hard, abiding particles of truth buried beneath our frenzied consumer culture. Stillness. Sunsets. The circadian rhythm of trees. These poems guide us to look past branding, content-creation, and relentless jargon to find meaning in those layers of the world that operate without human intervention.In verse that is at once inventive and innately familiar, Schweig unpacks the urge to make art, life, and connections even at the risk of becoming further entangled in the Anthropocene. Profound and clear-sighted, this collection urges us to lift our gazes from our screens and really look at the world around us. If we measure our attentions and sharpen our intentions, if we “try again to write / the true things,” we might spy something real on the horizon.

The Ocean in the Next Room

Some Girls Walk into the Country They Are From

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