American Poets Continuum Series – serie

Winner of the 2019 Paterson Poetry PrizeWinner of the 2019 Housatonic Book Award for PoetrySean Thomas Dougherty celebrates the struggles, the dignity, and the joys of working-class life in the Rust Belt. Finding delight in everyday moments—a night at a packed karaoke bar, a father and daughter planting a garden, a biography of LeBron James as a metaphor for Ohio—these poems take pride in the people who survive despite all odds, who keep going without any concern for glory, fighting with wit and grace for justice, for joy, every god damned day.

“A moving testament to the impact one person can have and the devastating effects of occupation.” —Washington Post Best Poetry Books of 2019Internationally beloved poet Naomi Shihab Nye places her Palestinian American identity center stage in her latest full-length poetry collection for adults. The collection is inspired by the story of Janna Jihad Ayyad, the "Youngest Journalist in Palestine," who at age 7 began capturing videos of anti-occupation protests using her mother's smartphone. Nye draws upon her own family's roots in a West Bank village near Janna's hometown to offer empathy and insight to the young girl's reporting. Long an advocate for peaceful communication across all boundaries, Nye’s poems in The Tiny Journalist put a human face on war and the violence that divides us from each other.

In passionate poems about sin, obsession, and mortality—an artist’s infatuation with a doll, an interspecies relationship, an ex-lover whose presence lingers in recipes, ecclesiastical birds, and a sex toy holding a loved one’s ashes—Waters delivers impeccably crafted narratives infused with his signature lyrical gestures. At the book’s core is a sequence of twenty-five poems on aging, dementia, and caregiving, chiseled phrase by phrase toward unflinching and memorable closure. Caw is a brilliant, intimate and moving addition to Waters’s body of work and may be his most powerful collection yet.

How to Carry Water: Selected Poems of Lucille Clifton celebrates both familiar and lesser-known works by one of America’s most beloved poets, including 10 newly discovered poems that have never been collected.These poems celebrating black womanhood and resilience shimmer with intellect, insight, humor, and joy, all in Clifton’s characteristic style—a voice that the late Toni Morrison described as “seductive with the simplicity of an atom, which is to say highly complex, explosive underneath an apparent quietude.” Selected and introduced by award-winning poet Aracelis Girmay, this volume of Clifton’s poetry is simultaneously timeless and fitting for today’s tumultuous moment.

Barbara Jane Reyes answers the questions of Filipino American girls and young women of color with bold affirmations of hard-won empathy, fierce intelligence, and a fine-tuned B.S. detector.The Brown Girl of these poems is fed up with being shushed, with being constantly told how foreign and unattractive and unwanted she is. She’s flipping tables and throwing chairs. She’s raising her voice. She’s keeping a sharp focus on the violences committed against her every day, and she’s writing through the depths of her “otherness” to find beauty and even grace amidst her rage. Simultaneously looking into the mirror and out into the world, Reyes exposes the sensitive nerve-endings of life under patriarchy as a visible immigrant woman of color as she reaches towards her unflinching center.

Mother Country examines the intricacies of mother–daughter relationships: what we inherit from our mothers, what we let go, what we hold, and what we pass on to our own children, both the visible and invisible.As the speaker gradually loses the mother she has always known and upon whom she has always depended to early onset Parkinson’s disease and mental illness, she asks herself: “How do you deal with the grief of losing someone who is still living?” The caregiving of a child to her parent is further compounded by anxiety and depression, as well as the pain of a miscarriage and the struggle to conceive once more. Her journey comes full circle when the speaker gives birth to a son and discovers the gap between the myths of motherhood and a far more nuanced reality.

Rachel Mennies embraces the public/private duality of writing letters in her latest collection of poems. Told through a time-honored epistolary narrative, The Naomi Letters chronicles the relationship between a woman speaker and Naomi, the woman she loves.Set mostly over the span of a single year encompassing the 2016 Presidential Election and its aftermath, their love story unfolds via correspondence, capturing the letters the speaker sends to Naomi—and occasionally Naomi’s responses, as filtered through the speaker’s retelling. These letter-poems form a braid, first from the use of found texts, next from the speaker’s personal observations about her bisexuality, Judaism, and mental illness, and lastly from her testimonies of past experiences. As the speaker discovers she has fallen in love with Naomi, her letters reveal the struggles, joys, and erasures she endures as she becomes reacquainted with her own body following a long period of anxiety and suicidal ideation, working to recover both physically and emotionally as she grows to understand this long-distance love and its stakes—a love held by a woman for a woman, forever at a short, but precarious distance.

Punk-rock feminist poems exploring motherhood, pop culture, and resistance with a spirit of defiance, abundance, and irreverent joyKendra DeColo reaffirms the action of mothering as heroic, brutal, and hardcore. These poems interrogate patriarchal narratives about childbirth, postpartum healing, and motherhood through the lens of pop culture and the political zeitgeist. With references ranging from Courtney Love to Lana Del Rey to Richard Burton to Nicolas Cage, I Am Not Trying to Hide My Hungers from the World revitalizes the way we look at mothering: pushing its boundaries and reclaiming one's spirit of defiance, abundance, and irreverent joy.

Rachel Mennies embraces the public/private duality of writing letters in her latest collection of poems. Told through a time-honored epistolary narrative, The Naomi Letters chronicles the relationship between a woman speaker and Naomi, the woman she loves.Set mostly over the span of a single year encompassing the 2016 Presidential Election and its aftermath, their love story unfolds via correspondence, capturing the letters the speaker sends to Naomi—and occasionally Naomi’s responses, as filtered through the speaker’s retelling. These letter-poems form a braid, first from the use of found texts, next from the speaker’s personal observations about her bisexuality, Judaism, and mental illness, and lastly from her testimonies of past experiences. As the speaker discovers she has fallen in love with Naomi, her letters reveal the struggles, joys, and erasures she endures as she becomes reacquainted with her own body following a long period of anxiety and suicidal ideation, working to recover both physically and emotionally as she grows to understand this long-distance love and its stakes—a love held by a woman for a woman, forever at a short, but precarious distance.

In passionate poems about sin, obsession, and mortality—an artist’s infatuation with a doll, an interspecies relationship, an ex-lover whose presence lingers in recipes, ecclesiastical birds, and a sex toy holding a loved one’s ashes—Waters delivers impeccably crafted narratives infused with his signature lyrical gestures. At the book’s core is a sequence of twenty-five poems on aging, dementia, and caregiving, chiseled phrase by phrase toward unflinching and memorable closure. Caw is a brilliant, intimate and moving addition to Waters’s body of work and may be his most powerful collection yet.

Mother Country examines the intricacies of mother–daughter relationships: what we inherit from our mothers, what we let go, what we hold, and what we pass on to our own children, both the visible and invisible.As the speaker gradually loses the mother she has always known and upon whom she has always depended to early onset Parkinson’s disease and mental illness, she asks herself: “How do you deal with the grief of losing someone who is still living?” The caregiving of a child to her parent is further compounded by anxiety and depression, as well as the pain of a miscarriage and the struggle to conceive once more. Her journey comes full circle when the speaker gives birth to a son and discovers the gap between the myths of motherhood and a far more nuanced reality.

Diamonds presents a woman in midlife on the edge. In hilarious and heartbreaking poems, Camille Guthrie writes about the trials and surprises of divorce, parenting, country life—and the difficulties and delights of being alone, looking at art, and falling in love.Witty resilience abounds in these irreverent poems about grief and desire—in which the poet meditates upon gender roles, history, pop culture, and academia. Guthrie subverts and teases traditional forms in an elegy about Sylvia Plath’s prom dress, a dating profile for Hieronymus Bosch, a sestina about beauty and power—with radical dramatic monologues in the voices of Madame du Barry, a Pict Woman, and more. Unlike Virgil, who refuses to guide this poet through her journey at midlife, Guthrie leads readers by the hand into a provoking, affecting journey of a break-up and a reconciliation with love.

A master of documentary poetry, Erika Meitner takes up the question of desire and intimacy in her latest collection of poems.In her previous five collections of poetry, Erika Meitner has established herself as one of America’s most incisive observers, cherished for her remarkable ability to temper catastrophe with tenderness. In her newest collection Useful Junk, Meitner considers what it means to be a sexual being in a world that sees women as invisible—as mothers, customers, passengers, worshippers, wives. These poems render our changing bodies as real and alive, shaped by the sense memories of long-lost lovers and the still thrilling touch of a spouse after years of parenthood, affirming that we are made of every intimate moment we have ever had. Letter poems to a younger poet interspersed throughout the collection question desire itself and how new technologies—Uber, sexting, Instagram—are reframing self-image and shifting the ratios of risk and reward in erotic encounters.With dauntless vulnerability, Meitner travels a world of strip malls, supermarkets, and subway platforms, remaining porous and open to the world, always returning to the intimacies rooted deep within the self as a shout against the dying earth. Boldly affirming that pleasure is a vital form of knowledge, Useful Junk reminds us that our selves are made real and beautiful by our embodied experiences and that our desire is what keeps us alive.

From the frontlines of climate catastrophe, a poet watches the sea approach her doorstep. Born and raised in Florida, Heather Sellers grew up in an extraordinarily difficult home. The natural world provided a life-giving respite from domestic violence. She found, in the tropical flora and fauna, great beauty and meaningful connection. She made her way by trying to learn the name of every flower, every insect, every fish and shell and tree she encountered. That world no longer exists.In this collection of poems, Sellers laments its loss, while observing, over the course of a year, daily life of the people and other animals around her, on her street, and in her low-lying coastal town, where new high rises soar into the sky as the storm clouds gather with increasing intensity and the future of the community—and seemingly life as we know it—becomes more and more uncertain.Sprung from her daily observation journals, haunted by ghosts from the past, Field Notes from the Flood Zone is a double love letter: to a beautiful and fragile landscape, and to the vulnerable young girl who grew up in that world. It is an elegy for the two great shaping forces in a life, heartbreaking family struggle and a collective lost treasure, our stunning, singular, desecrated Florida, and all its remnant beauty.

In pursuit of his brother, a man traverses the fantastical and grotesque landscape of Hell, pondering their now fractured relationship.The poems in Dustin Pearson’s A Season in Hell with Rimbaud form an allegorical travelogue that chronicles two brothers’ mutual descent into hell. When the older brother runs off by himself, the younger brother begins roaming Hell’s different landscapes in search of him. As he searches, the younger brother ruminates on their now fractured relationship: what brought them here? Can they find each other? Will their bonds ever be repaired?In the tradition of Virgil, Dante, Milton, Swift, Shelley, Joyce, Sarte, and especially Arthur Rimbaud, Pearson leads his speakers on a speculative, epistolary journey through the nether realm inspired by Christian beliefs and tradition. Drawing on the works of French Symbolists and the literary traditions of the American South, A Season in Hell with Rimbaud guides readers through an intimate rendering of one brother’s journey to find his lost and estranged brother, perhaps recovering a part of himself in the process.

A baby that keeps losing its brain, a cow in a wedding gown, a woman whose chest is a radio — bizarre and whimsical figures populate this collection of dreamlike prose poems from Russell Edson (1935-2014), with a Foreword by Pulitzer Prize winner Charles Simic.A seminal voice in American prose poetry from the sixties onward, Edson’s whole career is surveyed in a single volume edited for our times, presenting a new and contemporary view of a poet of startling imagination and strangeness. Craig Morgan Teicher calls us to witness Edson’s obsessions with the curious, the absurd, and the peculiar, and the ways in which they can haunt our daily lives. The prose poems in this collection mold our everyday into something extraordinary and unsettling. Edson’s poems are surreal fables in which his characters experience all that life throws at them— marriage, parenthood, technological advances, aging, dying, the afterlife— through irreverent dialogue and vivid imagery in turns both humorous and grotesque. Russell Edson is a vital and ever-contemporary poet with a unique moral and comedic vision, whose literary career quietly yet definitively shaped the prose poetry subgenre as we know it now.

Traveling the nation, Matt Donovan examines the paradox of a country plagued by gun violence yet consumed with protecting the right to bear arms.Matt Donovan’s The Dug-Up Gun Museum confronts our country’s obsession with guns to explore America’s deep-seated political divisions and issues linked to violence, race, power, and privilege. Taking its title from an actual museum located in Wyoming, this collection of poems interrogates our country’s history of gun violence, asking questions about our fetishization of weapons, how mass shootings and the killing of unarmed civilians by police have become normalized, and the multitudinous ways in which firearms are ingrained in our country’s culture. Much like the poet himself, Donovan’s poems are dynamic and constantly in motion as he explores the ways in which capitalism and its relentless stream of content have led to a collective desensitization in the face of violence. In turns harrowing, elegiac, and ironic, set in locations ranging from Cody to Chicago, from Las Vegas to Sandy Hook, The Dug-Up Gun Museum probes America’s failures, bizarre infatuations, and innumerable tragedies linked to guns.

Comprised of four heroic crowns of sonnets, Alicia Mountain’s Four in Hand is both formal and experimental, ranging from lyric romantic and familial narratives to blank verses of reconfigured found text pulled from financial newsletter emails. Language and white space equally captivate with their sparsity and abundance as Mountain pursues the implications of national political identity with intersectional awareness. These poems interrogate our collective complicity in late-stage capitalism, drone warfare, the election of Donald Trump, environmental degradation, mental health crises, and the dawn of Covid-19 through the lens of gay poetic lineage, regionalism, and familial kinships structures.As in all lived experiences, treacheries and triumphs fade in and out of focus and intimacy, heartbreak, travel, eroticism, joy, and quotidian happenings offer character and momentum across non-linear narrative arcs. Through enthralling images, gripping storytelling, and world-building, Four in Hand carves out necessary space for lesbian gaze, speakership, and personhood. From the back corner of a vast, sprawling, yet gorgeous landscape of thought, Mountain's poems beckon us inside.

In these hybrid poems, Jessica Q. Stark explores her mother’s fraught immigration to the United States from Vietnam at the end of war through the lens of the Little Red Riding Hood fairy tale.Told through personal, national, and cultural histories, Buffalo Girl is a feminist indictment of the violence used to define and control women's bodies. Interspersed throughout this hybrid work are a series of collaged photographs, featuring Stark’s mother’s black-and-white photography from Vietnam beautifully and hauntingly layered over various natural landscapes — lush tropical plants, dense forests, pockets of wildflowers. Several illustrations from old Red Riding Hood children’s books can also be found embedded into these pieces. Juxtaposing the moral implications of Little Red Riding Hood with her mother's photography, Stark creates an image-text conversation that attends to the wolves lurking in the forests of our everyday lives. Opening the whispered frames around sexuality and sex work, immersed in the unflattering symptoms of survival, Buffalo Girl burgeons with matrilineal love and corporeal rage while censuring the white gaze and the violence enacted through the English language. Here is an inversion of diasporic victimhood. Here is an unwavering attention to the burdens suffered by the women of this world. Here is a reimagination, a reclamation, a way out of the woods.

Through a personal, historical, and political lens, Mahtem Shiferraw attends to the collective experiences inherited through deeply-rooted ancestry, tracing patterns of movement and migration, sorrow and invisibility, and the resulting complicated notions of home.In Nomenclatures of Invisibility, Shiferraw calls us to carve out space for the multitudes of selves we carry when we migrate across boundaries of body, language, and land. With momentum, giving name to everything in her path from the longing that comes with migration to her beloved eucalyptus tree, she blurs physical and temporal borders, paying homage to ancestors past, present, and future. Shiferraw writes unapologetically against erasure, against invisibility, instead creating a space that holds grief lovingly, that can tend to the wounds held and held in the endlessly-traveling body. Brilliant with abundance and texture, Shiferraw’s poems dismantle the empire's sterile use of language, both historical and present. In Nomenclatures of Invisibility, Mahtem Shiferraw builds a home within her poems, attentively naming those who exist within them out of invisibility and into the radiant light: “We walk / in unison too: our backs bending at once, / our arms breaking, our abdomens / kicked into silence, thighs bleeding. Through / this I ask; am I still lit? And they, again /…what else would you be—”

A 2024 Washington State Book Award FinalistAgainst a constellation of solar weather events and evolving pandemic, Jeannine Hall Gailey’s Flare, Corona paints a self-portrait of the layered ways that we prevail and persevere through illness and natural disaster.Gailey deftly juxtaposes odd solar and weather events with the medical disasters occurring inside her own brain and body— we follow her through a false-alarm terminal cancer diagnosis, a real diagnosis of MS, and finally the onset of the coronavirus pandemic. The solar flare and corona of an eclipse becomes the neural lesions in her own personal “flare,” which she probes with both honesty and humor. While the collection features harbingers of calamity, visitations of wolves, blood moons, apocalypses, and plagues, at the center of it all are the poet’s attempts to navigate a fraught medical system, dealing with a series of challenging medical revelations, some of which are mirages and others that are all too real. In Flare, Corona, Jeannine Hall Gailey is incandescent and tender-hearted, gracefully insistent on teaching us all of the ways that we can live, all of the ways in which we can refuse to do anything but to brilliantly and stubbornly survive.

Grounded in protest and solidarity, Subhaga Crystal Bacon’s Isabella Gardner Award-winning Transitory is a collection of elegies memorializing 46 transgender and gender-nonconforming people murdered in the US and Puerto Rico in 2020. Epistolary in nature, these commemorative poems are “gleaned sketches” attempting to reconstruct lives and deaths from the typically scarce information made available on the internet. Interspersed with the elegies are personal explorations of gender identities and sexualities from a Queer elder who has lived through the post-Stonewall years of sexual liberation, the second wave of feminism, and the recent rapid increases in awareness about gender and sexualities met almost equally with anti-trans and anti-Queer violence. Seen through the lenses of whiteness and privilege from the last quarter of a lifetime, these poems navigate the desire to be at home in our bodies, to be loved and desired without danger, and most of all to live free, healthy, and welcome in the world we inhabit.

Winner of the 2024 LAMBDA Literary Award for Outstanding Bisexual PoetryConsumed with the accumulation of lost time and unfulfilled longing, Desire Museum by Danielle Cadena Deulen is an intricate exploration of things left unfinished or unsatisfied. Divided into four sections and shaped by female-identified embodiment, Desire Museum touches on lost love and friendship, climate crisis, lesbian relationships, and the imprisonment of children at the U.S.-Mexico border. These poems trace the pleasures and pitfalls of sex, the anxieties of motherhood, and the ramifications of interpersonal, sociopolitical, and environmental trauma in women’s lives. In these pages, Deulen holds up a candle to desire itself, questioning what it means to recognize and embrace one's desires, or what it might mean to let them go.In conversation with Hopkins, Keats, Crane, and Lorca, Deulen seamlessly weaves memories into dreamscapes and blurs the human and natural worlds. With love, wonder, grief, and awe, Desire Museum shows us that to live alongside desire is to refuse to be contained: “I refuse meaning [ ] the first sunrise reiterates the last.”