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A poetry collection by Ismael S. Rodriguez Jr.

After his son is convicted of murder, Vietnam War veteran Jeremiah Fitzjurls takes over the care of his granddaughter, Joanna, raising her with as much warmth as can be found in an Ozark junkyard outfitted to be an armory. He teaches her how to shoot and fight, but there is not enough training in the world to protect her when the dreaded Ledfords, notorious meth dealers and fanatical white supremacists, come to collect on Joanna as payment for a long-overdue blood debt.

Berührende Gedichte des weltweit erfolgreichen Instagram-Poeten. In seinen poetischen Texten beschreibt Yung Pueblo, wie sich intensive Emotionen in unser Unterbewusstsein einbrennen und unsere Handlungen und Beziehungen beeinflussen. Klarheit über seine Vergangenheit zu gewinnen und die Verbindung zu sich selbst zu finden, schafft die Grundlage für persönliches Wachstum. Mit seiner markanten Stimme, die zugleich kraft- und stimmungsvoll ist, begleitet uns der Autor auf dieser Suche und hilft, die Gefühle der Vergangenheit endlich zu verstehen.

“We lived overlooking the walls overlooking the cemetery.” So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy.

Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives.

Human Resources follows a woman working in the male-dominated world of AI, designing women that don’t exist. In discerning verse, she workshops the facial characteristics of a floating head named “Nia,” who her boss calls “his type”; she loses hours researching “June,” an oddly sexualized artificially intelligent oven; and she spends a whole day “trying to break” a female self-improvement bot. The speaker of Stevenson’s poems grapples with uneasiness and isolation, even as she endeavors to solve for these problems in her daily work.

An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from National Book Critics Circle Award winner, National Book Award finalist and U.S. Poet Laureate Ada Limón.

“You were supposed to find God here / the signs said.” In these poems, hinterlands demand our close attention; overlooked places of industry become sites for pilgrimage; and history large and small—of a city, of a family, of a shirt—is unearthed.

A woman (Alison Pill) finds herself grappling with both grief and anger following the sudden death of her mother and the shocking revelation of her father’s infidelity. Her father (Reed Birney), on the other hand, is just trying his best to verbalize his own complicated feelings about love, loss, lust…and household chores. And the other woman (Marsha Mason) simply wonders: Is she still “the other woman” when the original woman is gone?

Aspiring audio producer Harriet (Fazal) gets the career boost of a lifetime: the chance to interview internationally famous thriller writer Lili Novak, who has agreed to give a masterclass about her creative process. The dream gig takes a dark turn, however, as Lili immediately dives into an eerie recount of her childhood.

Are we stuck with our memories–or can we fix them? Pia is a neuroscientist whose research focuses on changing the way we process traumatic experiences. Will Pia’s emotionally distant mother–who survived the Khmer Rouge in 1970’s Cambodia–benefit from her daughter’s work? Or are some things just too terrible to remember?

Seventeen-year-old Bucky Yi knows nothing about his birth country of South Korea or his bio-dad's disappearance; he can't even pronounce his Korean name correctly. Running through the woods of rural Washington State with a tire tied to his waist, his sights are set on one all-American goal: to become a college football player. So when a misadventure with his adoptive family leads the US government to deport him to South Korea, he's forced to navigate an entirely foreign version of his life.

Rosario, a Filipina novelist in New York City, has just learned of her mother's death in the Philippines. Instead of rushing home, she puts off her return by embarking on a remote investigation into her family's history and her mother's supposed inheritance, a place called La Tercera, which may or may not exist. Rosario catalogs generations of Delgado family bequests and detritus: maps of uncertain purpose, rusted chicken coops, a secret journal, the words to songs sung at the family home during visits from Imelda Marcos.

Paloma has been watching the Grand Vespertilio Show her entire life. Grand, America’s most beloved horror host showcases classic, low-budget and cult horror movies with a flourish, wearing his black tuxedo and hat, but Paloma has noticed something strange about Grand, stranger than his dark make-up and Gothic television set.

What if you could go back and change your life? For Brennan Ramirez, that question is no longer hypothetical. Brennan is determined that the ultimate way to fix his family's life for the best is to go back and prevent the traumatic childhood abuse that haunts his wife to this day.

I have strung these things together on a slight enough thread, but as the things themselves are slight, it is possible that the thread (and the metaphor) may manage to hang together. These notes range over very variegated topics, and in many cases, were made at very different times.

A thirty-something single woman, the untried colt she inherits, a horse-crazy little girl, and their band of misfits and has-beens stick it to the establishment in the cutthroat world of horse racing.

Quirky reflections on rural and urban American life. The inspiration for each poem is from what I consider to be a common, if not always colossal human concern, and therefore possessing some truth which I hope makes them worth listening to.

Inside this debut collection, girlhood’s dangers echo, transmuted, in the poet’s fears for her son. A body just discovering the vastness of “want’s new acreage” is humbled by chronic illness. Epithalamion turns elegy. But this world that so often seems capricious in its cruelty also shelters apple orchards, glass museums, schoolchildren, century-old sharks; “there’s no accounting for / all we want to save, no names.” Oliver’s polyphonic gathering of speakers includes lovers and saints, painters and dead poets, a hawk and a mother.

En este relato de imaginación desbordante y gran belleza, Karina Sainz Borgo mezcla la realidad con lo fantástico y el mito para levantar, con una prosa cuidadísima y muy poética, un mundo nuevo centrado en una isla imaginaria donde habita el doctor Schubert, medio médico y medio aventurero.