Agha Shahid Ali Prize in Poetry – Serie

The Agha Shahid Ali Prize in Poetry was inaugurated in 2003 to honor the late poet, a nationally recognized writer 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.Descartes’ Nightmare is the 2007 prizewinning volume selected by this year’s judge, Cole Swenson, of the Iowa Writers’ Workshop.

The Agha Shahid Ali Prize in Poetry was inaugurated in 2003 to honor the late poet, a nationally recognized writer and former professor at the University of Utah, and is sponsored by the University of Utah Press and the University of Utah Department of English. Fire Pond is the 2008 prizewinning volume selected by this year's judge, Medbh McGuckian, poet, editor, and teacher from Belfast.

Honoring the memory of a celebrated poet and a beloved teacher, the Agha Shahid Ali Prize in Poetry is awarded annually and is sponsored by the University of Utah Press and the University of Utah Department of English. In the Human Zoo reveals encounters with a world that is both fragile and dangerous, a perilous, surreal place where not only humans but also creatures as innocuous as fireflies and owls become potential threats. Throughout the collection, speakers wrestle with human violence through a multitude of perspectives: the fear and resistance of victims, the frustration and outrage of witnesses, the regret and recognition of a global history in which so many people have participated as perpetrators. While the people who inhabit the world of this collection might yet remain caged, they nevertheless struggle to unleash themselves and each other through language.

Set against the sprawling backdrop of Los Angeles, Night Radio excavates the kidnapping and sexual assault of a young girl and the resulting layers of trauma exacted upon her and her family. Working within the paradox of the insufficiency of language and the necessity of expression, these poems elevate overwhelming experiences into near-mythic narrative. Night Radio's attempt through art to ""make sense"" of a seemingly senseless world raises troubling and timeless questions about the value, necessity, and futility of the aesthetic act. At the heart of the book is a journey toward reconciliation - wherein one discovers an abiding though hard-won faith within a complex, overwhelming, and, at times, frightening universe.

Kara Candito's second poetry collection is anything but a comedy, although it ends happily. At the book's centre is the struggle of a U.S. citizen and a Mexican citizen to find a common space and language in their relationship while navigating the U.S. immigration system, a process that sometimes requires magical thinking just to endure. By employing a kind of documentary poetics that views the application process through different angles and perspectives, Candito crafts discourses around xenophobia, otherness, and national and ethnic identity.""In the waiting room of the third government office, / you will invent your own religion,"" writes Candito in ""Ars Amatoria: So You Want to Marry a Foreign National,"" a tragicomic sequence written in Roman-numeric fragments reminiscent of an official document's formatting. Interspersed with moments of lyric urgency (""I am here to suffer more beautifully"") and disconcerting cinematic observation (""One wore an assault rifle across his back, // another pointed a video camera at our faces.""), Spectator charts the plural self's course through a world of airplane travel, drug wars, and customs forms.From Italy to Boston, Lorca's Granada to New York, and the dusty street of Mexico City to the snowy parking lots of the Mid-west, the speakers of Spectator probe the jagged boundaries between past and present, observer and observed, and political and personal. The book becomes an homage to anyone who's been displaced or redefined by bureaucratic systems of power.

In The Rival, Sara Wallace takes her readers on an intimate journey through a woman’s solitary, surreal rural childhood and her brutal, sexually fraught first marriage to the conflicted redemption she finds in motherhood and a second chance at love. In this debut poetry collection, Wallace reveals how closely emotional devastation and transcendence can coexist. The Rival is sensuous, darkly humorous, and frequently luminous in its unflinching exploration of the inner life.

Bad Summon explores the relationship between the majesty of nature and the quiet violence humans inflict upon themselves and others. The poems are dipped in loss, traveling between death and mountains, romance and rivers. They are addicted to the truth of experience and the energy behind regret. Bad Summon conjures its own ghost.According to David Baker, the judge who selected the winning manuscript, this is a “surprising, coherent, original collection of lyric poems. I felt peril, heartbreak, catastrophe, sorrow, genuine soulfulness. It’s also funny, yet its humor is not comic but possesses a terrible gravity.” This is a volume every poetry lover will want to explore.

In a startling voice propelled by desire and desperation on the verge of laughter, these poems leap from the mundane to the sublime, from begging to bravado, from despair to reverie, revealing the power that comes from hanging on by a thread. Poet Heather June Gibbons conjures belief in the absence of faith, loneliness in the digital age, beauty in the face of absurdity—all through the cataract of her sunglasses’ cracked lens. In this debut collection, we are shown a world so turbulent, anxious, and beautiful, we know it must be ours. Under pressure, these poems sing.Includes a foreword by Jericho Brown.

Winner of the 2018 Agha Shahid Ali Prize in Poetry""A girl has two choices: / to be a tree or / to be the forest."" Catechesis combines Grimm fairy tales with horror movies and the Book of Revelation to construct a vision of the dangers and apocalyptic transformations inherent in girlhood. This lyric lore, which includes curious diagrams and collages of the botanical and the anatomical, contains hidden instructions to prepare girls for the hazards ahead.In retelling lore alongside other Grimm-style stories, the poet turns horror classics The Silence of the Lambs and Alien into macabre fairy tales in their own right. Herein lurks violence and decay, but also a wild, overgrown beauty. Mothers and fathers are as much a part of this treacherous landscape as the carnivorous flora and shape-shifting fauna—and their effects are just as devastating. Framing all of this within biblical language and motifs gives these fabulist poems an ominous sense of urgency. Catechesis is a hybrid collection of textual and visual poems that examine belief and obsession. It explores how beauty leads to danger and danger births another kind of beauty, in a cycle of creation and destruction.

Zachary Asher's second collection, gone bird in the glass hours, is a play in verse, featuring seven voices. It begins with a rabbi, bewildered and bent by personal grief, guided and beguiled by elusive Blue Postman into the world of 'the glass hours' and its inhabitants.Rooted in magical realism, gone bird in the glass hours experiments with multiple forms from epistles to centos, from fractals to prayers. These poems are brave in their excavations of grief and solace, wonder and rage, collective trauma and, ultimately, transcendence.

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. In varied forms (ghazals and prose poems, dialogues and erasures, bref double and Golden Shovel, among others) these poems bear witness to and seek reprieve from disasters at once commonplace and terrifying. “I can’t surface for every scalpel slice, / I need a dreamy estuary present,” she writes. Stumbling toward joy across time and space, these poems hum with fear and desire, bewildering loss, and love’s lush possibilities.

B/RDS endeavors to dismantle discourses that create an artificial distinction between nature and humanity through a subversive erasure of an iconic work of natural history: John James Audubon’s Birds of America (1827-1838). This process of erasure considers the text of Birds of America as an archival cage. The author selectively erases words from the textual cage to reveal its ambiguity and the complex relationship between humanity and the other-than-human world. As the cage disappears, leaving a space for scarce, lyrical poems, birds break free, their voices inextricably entangled with ours.Prose poems written in the author’s own words and prompted by the erasure process are also interspersed throughout the collection. These migratory poems, like ripples, trace the link between past and present and reveal the human-nature disconnect at the root cause of environmental and social problems, including the COVID-19 pandemic.Along its five movements, B/RDS also explores how we can reimagine our relationship to environment through language within new frameworks of interconnectedness. Thus, as the collection resists the distinction between nature and culture on which traditional nature poetry relies, it also acts as an ecopoetic manifesto. It suggests that a critical, lyrical poetry could contribute to ecological awareness by singing humanity back within nature.

In Two Signatures, Sara Ellen Fowler initiates her readers into a synesthetic contract of close attention and deep feeling. From the wood floor of an art museum buckling with Lake Michigan moisture, to the mud-packed hooves of the horse of childhood, to an art student’s spit on a pane of mirrored glass, the poems’ images string together a necklace of exquisite longing. Pleasures and complexities of sensory experience lay the ground for a world where risk is rewarded and candor is sensual. The poet explores registers of desire and power, drawing upon her training as a visual artist to make a studio of language. Temperature and texture gain grammar as the poems reach toward awe via multivalent psychology, sex, and sculptural interventions. These poems invite readers to explore the vulnerability and insistence that mark one’s devotion to any creative practice.

Winner of the Agha Shahid Ali Prize in PoetryIn a house full of stanzas found in Estate Sale, Dan Murphy opens the door on the objects of his life: accumulated experience and imagination, trauma, personal and political history, inheritances that subtly unearth the forces of the world. Loss becomes a possession, language an act of reclamation, and form appears as the wearing of a dead man’s clothes. One poem reminds us “that things exist, even when out of sight.” In these poems, meaning is found, then, in the search for meaning, refuge in the search for refuge.