Made in Michigan Writers Series – serie

The title of ""Blue-Tail Fly"" comes from an antebellum song commonly known as ""Jimmy Crack Corn."" The blue-tail fly is a supposedly insignificant creature that bites the horse that bucks and kills the master. In this collection, poet Vievee Francis gives voice to ""outsiders"" - from soldiers and common folk to leading political figures - who play the role of the blue-tail fly in the period of American history between the Mexican American War and the Civil War. Through a diverse range of styles, characters, and emotions, Francis's poems consider the demands of war, protest and resistance to it, and the cross-cultural exchanges of wartime. More than a narrowly themed text, ""Blue-Tail Fly"" is a book of balances, weighing the give-and-take of people and cultures in the arena of war. For lovers of poetry and those interested in American history, ""Blue-Tail Fly"" will illustrate the complexities of the American past and future.

In Practicing to Walk Like a Heron multiple-award-winning Michigan poet Jack Ridl shares lines of well-earned wisdom in the face of a constantly changing world. The familiar comforts of life-a warm fire in winter, a lush garden in summer-become the settings for transcendent and universal truths in these poems, as moments of grief, sadness, and melancholy trigger a deeper appreciation for small but important joys. The simple clarity of Ridl's lines and diction make the poems accessible to all readers, but especially rewarding for those who appreciate carefully honed, masterful verse. Many of the poems take solace in nature-quiet deer outside in the woods, deep snow, a thrush's empty nest in the eaves-as well as man-made things in the world-a steamer trunk, glass jars, tea cups, and books piled high by an easy chair. Yet Ridl avoids becoming nostalgic or romantic in his surroundings, and shows that there is nothing easy in his celebration of topics like ""The Letters,"" ""But He Loved His Dog,"" ""A Christmas List for Santa,"" and ""The Enormous Mystery of Couples."" An interlude of full-colour pages divides Ridl's more personal poems with a section of circus-themed pieces, adding visions of elephants, trumpets, tents, sequins, and sideshows, and the uniquely travel-weary perspectives of jugglers, trapeze artists, roustabouts, and clowns. Practicing to Walk Like a Heron unabashedly affirms the quirky and eccentric, the small and mundane, and the intellectual and experiential in life. Anyone interested in relatable and emotionally powerful poetry will enjoy this new collection.

The second full-length collection from award-winning poet Chris Dombrowski, Earth Again transports readers to an imaginative world where identity is explored and expanded. With a mixture of long poems and shorter pieces, Dombrowski probes birth, death, sex, memory, and our blessed but treacherous engagement with the natural world. While he writes from a number of points of view and employs both male and female speakers, much of the collection's singular insight centers around masculine identity and being a husband and a father. Readers come away transformed, ""like the land / gasping as it does each late winter evening when / the sky at tree line, nearly sapphiric, goes black,"" as these poems prove Dombrowski to be a truly original American voice.Comprised of three sections - each of which concludes with a long poem - Earth Again presents a range of narrative and emotions in dexterous rhythms, unexpected shifts, and unforgettable metaphors. Dombrowksi introduces readers to arresting images like ""the parataxis of her ass,"" ""cerulean, alchemical light,"" ""Molly with the sun in her mouth,"" and ""labyrinthine, lanky-stemmed, dew-magnified"" leaves. These details combine with Dombrowski's note-perfect language, which alternates between the most colloquial and the most elevated of diction. Readers will be challenged to consider spirituality alongside Scooby-Doo Band-aids, and to meditate on death after the mower has chews up a plastic dinosaur, as Dombrowski revels in exploring our connection to the environment and one another. Fans of Dombrowski's previous collection, By Cold Water (which was noted as a contemporary poetry bestseller by the Poetry Foundation in 2009), along with other poets and poetry lovers will appreciate the attention to detail and the imaginative intensity of the poems in Earth Again.

The daughter of parents from Trinidad and Tobago and St. Vincent, Lolita Hernandez gained a unique perspective on growing up in Detroit. In Making Callaloo in Detroit she weaves her memories of food, language, music and family into twelve stories of outsiders looking at a strange world, wondering how to fit in and making it through in their own way. The linguistic rhythms and phrases of her childhood bring distinctive characters to life: mothers, sons, daughters, friends and neighbours who crave sun and saltwater and would rather dance on a bare wood floor than give in to despair. In their kitchens, they make callaloo, bakes, buljol, sanchocho and pelau - foods not usually associated with Detroit.Hernandez’s characters sing and dance, curse and love, and cook and eat. A niece races to make a favourite family dish correctly for an uncle in the hospital, three friends watch an unfamiliar and official-looking man in the neighbourhood, lovers and daughters cope with sudden deaths of the men in their lives, a man who can no longer speak escapes his life in imagination and families gather to celebrate the new year with joyful dancing against a backdrop of calypso music. Hernandez’s stories reflect the diversity of characters to be found at the intersection between cultures while also offering a window into a very particular and rich Caribbean culture that survives in the deepest recesses of Detroit.In addition to being a compelling and colourful read, Making Callaloo in Detroit explores questions of how we assimilate and retain identity, how families evolve as generations pass, how memory guides the present and how the spirit world stays close to the living. All readers of fiction will enjoy this lush collection.

In Strings Attached, poet Diane DeCillis takes inspiration from the story of the elephant calf with a thin rope tied to its leg. Even when it grows into a massive animal, the elephant thinks the same string still restrains it and never attempts to break free. This powerful, funny and sometimes self-deprecating collection considers all the ways that strings bind us in relationships and explores their constant tightening and loosening. Although we may never sever the strings attached to our wounds, DeCillis shows that when given enough slack we can create the illusion of having been set free.The poems in Strings Attached consider tension in a variety of relationships. The short string of an American girl raised in Detroit by a resentful Lebanese grandmother whose culture values boys over girls. The attachment to a strong mother who exemplifies feminism but who is mostly absent in order to support the family. The cosmopolitan father who abandons but captivates and the strings of relationships with older men, built on longing for the missing father. The long strings of a secret life that teach you to be distant. The strings that cuff you to your home and the triumph of loosening them after years of agoraphobia. The frayed strings that come from being too American in a Lebanese culture. The strings of food and tradition that connect to family and friends.DeCillis’s verse reflects an insistent search for identity and the happy discovery that outsider status can be a good thing, a kind of earned badge that provides new ways of seeing. All poetry readers will relate to the personal and perceptive verse of this debut collection.

In a wide range of forms and tones, the fifteen stories in Andy Mozina’s new collection, Quality Snacks, centre on high-stakes performances by characters trying to gratify both deep and superficial needs, often with unexpected consequences. Driven by strange ambitions, bungled love, and a taste for - or abject fear of - physical danger, the collection’s characters enact the paradox in the concept of a quality snack: the dream of transmuting the mundane into something extraordinary.Two teenage boys play chicken on a Milwaukee freeway. A man experiencing a career crisis watches a seventy-four-year-old great grandmother perform an aerial acrobatics routine at the top of a swaying 110-foot pole. Desperate to find a full-time job, a pizza delivery man is fooled into a humiliating sexual demonstration by a couple at a Midway Motor Lodge. A troubled young man tries to end his father’s verbal harassment by successfully hunting a polar bear. After an elf civil war destroys his Christmas operation, Santa Claus reinvents himself as a one-man baseball team and ends up desperate to win a single game. And in the title story, a flavour engineer at Frito-Lay tries to win his boss’s heart with a new strategy for Doritos that aims to reposition the brand from snack food to main course.While some stories embrace pathos and some are humorous and some are realistic and some contain surreal elements, all of the stories in Quality Snacks share striking insight and a cast of compelling, well-conceived characters. This collection, in an earlier form, has been a finalist for the Flannery O’Connor Short Fiction Award, the Dzanc Short Story Collection Contest, the Elixir Press Fiction Award, and the Autumn House Fiction Contest and a semi-finalist for the Mary McCarthy Prize. Readers of fiction will be satisfied by the variety of fare offered by Quality Snacks.

The nine stories of Strange Love centre on Annie Zito, a smart-but-not-always-wise divorced mother, and Marly, her strong yet vulnerable daughter, as they seek and stumble upon an odd cast of boys and men. All the stories are linked and alternate between mother and daughter; and while each tale stands alone, together they make up a larger whole. The first story begins when Annie is thirty-one years old and Marly is eight and they live in a tiny apartment overlooking a marsh near Lake Michigan and the last story ends a decade and a half later with both women on the cusp of new adventures.Throughout these years, mother and daughter struggle with male characters: the hot-headed teenager next door, a therapist with a faulty heart, a homeless man who occupies the daughter’s porch, a divorced professor trying his wings, a flatterer who becomes abusive, a brilliant and neurotic doctor, a schizophrenic photographer, an engineer in love with comedy. Yet the women also clash with each other as Annie tries to protect her child and find a lasting relationship with a man and Marly learns how to navigate and survive the romantic and sexual arena and find her place in the larger world. Annie’s deceased firstborn baby daughter is a darker thread woven through these stories, a subtle influence who is never seen but not forgotten. And in the background as well as the foreground is Annie’s beloved Lake Michigan, into whose deep waters she swims to remind herself that the world is beautiful and large and on whose frozen ice she kneels, as these pages end, in a moment that is both surprising and sublime.By turns comical and poignant, lyrical and incisive, Strange Love displays Lenzo’s storytelling gifts at their finest. These stories will appeal to all readers of fiction.

The poems in Until the Full Moon Has Its Say were inspired by the loss of poet Conrad Hilberry’s wife of fifty-six years, Marion. While the poems in this volume delve into the initial emptiness and hopelessness of grieving, the poet’s connections to the natural world, music and other people ultimately bring him back into the present while still acknowledging and honouring the past. The work of a skilled poet with a lifetime of experience, this collection displays Hilberry’s mastery of form. The book’s three sections include a sonnet, five villanelles and a variety of stanza structures, all written in his signature tone, which is contemplative, tender and moving.The elegant poems of Until the Full Moon Has Its Say arise from the consideration of ordinary, even humble, subjects - a bowl on a table, a blackout, mosquitoes, garlic mustard, algae on the local pond. Hilberry’s relaxed voice is wise and measured even in the depths of grief, as he muses, "How can I draw dead branches / in a poem?" Part of the answer to that question lies in the use of form, which gives shape to experience. In his formal virtuosity, Hilberry even writes a villanelle - a notoriously difficult poetic form - about writing a villanelle.Written by the poet in his eighties, Until the Full Moon Has Its Say is a powerful reflection on mortality and on the art that has been his lifelong practise. All readers of poetry will treasure this powerful volume.

Depending on dialect, the Anishinaabemowin word ""weweni"" expresses thanks, exactitude, ease, and sincerity. In addition, the word for ""relatives"" is ""nindenwemaaganag"": those whose ""enewewe,"" or voices, sound familiar. In Weweni, poet Margaret Noodin brings all of these meanings to bear in a unique bilingual collection. Noodin's warm and perceptive poems were written first in the Modern Anishinaabemowin double-vowel orthography and appear translated on facing pages in English.From planetary tracking to political contrasts, stories of ghosts, and messages of trees, the poems in Weweni use many images to speak to the interconnectedness of relationships, moments of difficulty and joy, and dreams and cautions for the future. As poems move from Anishinaabemowin to English, the challenge of translation offers multiple levels of meaning-English meanings found in Anishinaabe words long as rivers and knotted like nets, English approximations that bend the dominant language in new directions, and sets of signs and ideas unable to move from one language to another. In addition to the individual dialogues played out beween Noodin's poems, the collection as a whole demonstrates a fruitful and respectful dialogue between languages and cultures.Noodin's poems will be proof to students and speakers of Anishinaabemowin that the language can be a vital space for modern expression and, for those new to the language, a lyric invitation to further exploration. Anyone interested in poetry or linguistics will enjoy this one-of-a-kind volume.

Sharp Blue Search of Flame is an exploration in poetry of a complex network of nuanced journeys into a variety of worlds. The searingly rich poems reflect Zilka Joseph's own history of living in Eastern and Western cultures, as well as the influences of her Jewish Indian roots. Joseph's free verse and forms shift scenes from the real to the imagined landscapes of the mind, and search for fulfillment and solace amidst the terrifying beauty and chaos of the human condition.Joseph's poems, while dark and brooding in subject matter-bride burnings and infanticide in her native country, the loss of Eden, mourning for a beloved mother-offer a tactile insight into life in India and the United States. Through a flurry of sounds and smells, the reader learns an interpretation of the history of the sari, witnesses the horror of attacks on women, and wrestles with death, whether it be that of an elephant, an extinct frog, honey bees, humans, or goddesses. Her poems dig deep and aspire for something beyond. Colored by fire, blood, ash, and rain, these poems present images of great joy and deep loss in a complex harmony.Sharp Blue Search of Flame embraces worlds within worlds and worlds between worlds, which is not only intrinsic to the fabric of the poems but to the life of the poet as well. Readers of poetry will savor this sensory collection.

Poet Ken Mikolowski ran a letterpress printing house for over thirty years, setting poems by hand, one letter at a time-an experience that influenced his love of short verse. In That That, Mikolowski presents his trademark quirky, humorous, and insighful poems, none longer than three brief lines and some made up of only two or three carefully chosen words. Together, these poems create a narrative of life and love broken down to the most minimal of forms.Mikolowski's deceptively simple collection takes readers on a whirlwind tour through weighty topics and humorous vignettes. He reflects on the nature of art, identity, and legacy in poems that muse in their entirety, "I've never met a deadline / I've ever met yet" and "Why I am not a New York poet / Detroit." Mikolowski also gives unparalleled assessments of serious subjects like love, aging, and death, declaring, "Sometimes / I don't think of you / for hours" and "Getting old / gets old / real quick." Some poems are more lighthearted and delight only in the wordplay of rhyme or unexpected imagery, adding an unmistakably playful element to this spare but polished volume.Mikolowski's collection demonstrates the singular power of language in the hands of a master craftsman. That That will be read and re-read by anyone interested in short poetry.

As the 1960s dawned in small-town Michigan, Anne-Marie Oomen was a naive farm girl whose mother was determined to keep her out of trouble-by keeping her in 4-H. In Love, Sex, and 4-H, Oomen sets the wholesomeness of her domestic lessons in 4-H club from 1959 to 1969 against the political and sexual revolution of the time. Between sewing her first dish towel and finishing the yellow dress she wears to senior prom, Oomen brings readers along as she falls in and out of love, wins her first prize, learns to kiss, survives her first heartbreak, and makes almost all of her clothes.Love, Sex, and 4-H begins as Oomen struggles to sew a straight seam and works hard to embody the 4-H pledge of loyalty, service, and better living. But even as she wins her first modeling competition and masters more difficult stitches and patterns, Oomen finds that she is not immune to the chaos of the outside world. After the Kennedy assassination, the Cuban Missile Crisis, and her own short stay in a convent, Oomen encounters the biggest change of all-public school. In this new world of school dances, short skirts, and raging hormones, Oomen's orderly life will be complicated by her first kiss, first boyfriend, first store-bought dress, and finally, first love. All the while, she must negotiate her mother's expectations, her identity as a good 4-H girl, and her awareness of growing social and political unrest.Oomen brings an insightful and humorous eye to her evolving sexuality, religious beliefs, and sense of self. Fans of memoir will appreciate the honest portrayal of growing up between rebellion and tradition in Love, Sex, and 4-H.

The well-crafted lines in Michael Lauchlan's Trumbull Ave. are peopled by welders, bricklayers, gas meter readers, nurses, teachers, cement masons, and street kids. Taken together, they evoke a place-Detroit-in its bustling working-class past and changeable present moment. Lauchlan works in the narrative tradition of Robert Frost and Edwin Arlington Robinson but takes more recent influence from Philip Levine, Thomas Lux, and Ellen Voigt in presenting first- and third-person meditations on work, mortality, romance, childish exuberance, and the realities of time.Lauchlan presents snapshots from the past-a widowed mother bakes bread during the Depression, a welder sends his son to war in the 1940s, a bounding dog runs into a chaotic street in 1981, and a narrator visits a decaying Victorian house in 1993-with an impressive raw simplicity of language and a regular, unrhymed meter. Lauchlan pays close attention to work in many settings, including his own classroom, a plumber's damp cellar, a nurse's hospital ward, and a waitress's Chinese restaurant dining room. He also astutely observes the natural world alongside the built environment, bringing city pheasants, elm trees, buzzing cicadas, starry skies, and long grass into conversation with his narrators' interior and exterior landscapes.Lauchlan's poems reveal the layered complexity of human experiences in vivid, relatable characters and recurrent themes that feel both familiar and serious. All readers of poetry will enjoy the musical and vivid verse in Trumbull Ave.

In Garden for the Blind, trouble lurks just outside the door for Kelly Fordon's diverse yet interdependent characters. As a young girl growing up in an affluent suburb bordering Detroit, Alice Townley witnesses a tragic accident at her parents' lavish party. In the years that follow, Alice is left mostly in the care of the household staff, free to forge friendships with other pampered and damaged teens. When she and her friend Mike decide to pin a crime on another student at their exclusive high school, the consequences will reverberate for years to come.Set between 1974 and 2012, Fordon's intricately woven stories follow Alice and Mike through high school, college, and into middle age, but also skillfully incorporate stories of their friends, family, acquaintances, and even strangers who are touched by the same themes of privilege, folly, neglect, and resilience. A WWII veteran sleepwalks out of his home at night, led by vivid flashbacks. A Buddhist monk is assaulted by a robber while seated in meditation. A teenaged girl is shot walking home from the corner store with a friend. A lifelong teacher of blind children is targeted by vandals at the school she founded.Garden for the Blind visits suburban and working-class homes, hidden sanctuaries and dangerous neighborhoods, illustrating the connections between settings and relationships (whether close or distant) and the strange motivations that keep us moving forward. All readers of fiction will enjoy the nimble unfolding of Fordon's narrative in this collection.

The InsideOut Literary Arts Project (iO) began in 1995 in five Detroit high schools, with weekly classroom visits by a writer-in-residence, the publication of a literary journal for each school, and the mission of encouraging students to use poetry to “think broadly, create bravely, and share their voices with the wider world.” Twenty years later, the program serves some five thousand K–12 students per year, has received national exposure and accolades (including a recent visit to the White House), and has seen numerous student writers recognized for their creativity and performance. In To Light a Fire: 20 Years with the InsideOut Literary Arts Project, founding director Terry Blackhawk and senior writer Peter Markus collect twenty-one contributions from writers who have participated in InsideOut over the years to give readers an inside look at the urban classroom and the creative spark of Detroit’s students.In short and insightful essays, contributors discuss how iO’s creative magic happened during the course of their work in Detroit schools. Poets such as Jamaal May, John Rybicki, Robert Fanning, and francine j. harris describe the many ways that poetry can be used as a tool to reach others, and how poetic work shaped them as teachers in return. Contributors describe nurturing a love of language, guiding excursions into imagination, and helping students find their own voices. They also describe the difficulties of getting through to kids, the challenges of oversized classrooms, and of working with children who seem to have been forgotten. Despite their own frequent angst and personal uncertainties about doing the right thing, they describe the joys and rewards that come from believing in students and supporting the risks that they take as writers.To Light a Fire captures the story—one poet, poem, and poetic moment at a time—of helping students to discover they can imagine, dream, and speak in a way that will make people listen. Fellow educators, poets, and creative writers will be moved and inspired by this collection.

Inscrutable, inaccessible, indefinable. Even at the end. That's what her mother had always been to her." In Seasonal Roads, L. E. Kimball introduces Norna, Aissa, and Jane-mother, daughter, and granddaughter-who are as fierce and complex as the northern terrain they inhabit. Following a nonlinear timeline, Kimball's stories unravel the beautiful mess of layers that is their lives and allow the narratives to roam freely in time, thus granting the reader keen insights into the past, present, and future.Spiraling through time and perspective, the stories converge at Norna's two-room cabin in the woods, accessible only by "seasonal roads" that disappear under deep snow in the winter. The cabin is witness to Norna's years of solitude spent hunting, foraging, fishing, and defending herself from intruders, Aissa's escape from her divorce, and Jane's stubborn vigil as a forest fire rages dangerously nearby. Through raw and ephemeral memories, we learn the darkest kept secrets of these women and the ties that bind them to each other and to the land.Kimball's sensual descriptions of the Upper Peninsula, combined with her hauntingly vivid characters, paint an unforgettable picture in Seasonal Roads. Readers of fiction will enjoy the surprising turns of this collection.

While a mother can be defined as a creator, a nurturer, a protector—at the center of each mother is an individual who is attempting to manage her own fears, desires, and responsibilities in different and sometimes unexpected ways. In Know the Mother, author Desiree Cooper explores the complex archetype of the mother in all of her incarnations. In a collage of meditative stories, women—both black and white—find themselves wedged between their own yearnings and their roles as daughters, sisters, grandmothers, and wives.In this heart-wrenching collection, Cooper reveals that gender and race are often unanticipated interlopers in family life. An anxious mother reflects on her prenatal fantasies of suicide while waiting for her daughter to come home late one night. A lawyer miscarries during a conference call and must proceed as though nothing has happened. On a rare night out with her husband, a new mother tries convincing herself that everything is still the same. A politician’s wife’s thoughts turn to slavery as she contemplates her own escape: “Even Harriet Tubman had realized that freedom wasn’t worth the price of abandoning her family, so she’d come back home. She’d risked it all for love.” With her lyrical and carefully crafted prose, Cooper’s stories provide truths without sermon and invite empathy without sentimentality.Know the Mother explores the intersection of race and gender in vignettes that pull you in and then are gone in an instant. Readers of short fiction will appreciate this deeply felt collection.

Bob Seger's House and Other Stories is a collection of short stories written by some of Michigan's most well-known fiction writers. This collection of twenty-two short stories serves as a celebration not only of the tenth anniversary of the Made in Michigan Writers Series in 2016 but also of the rich history of writing and storytelling in the region. As series editors Michael Delp and M. L. Leibler state in their preface, ""The stories contained in this anthology are a way to stay connected to each other. Think of them as messages sent from all over the map, stitching readers and writers together through stories that continue to honor the ancient art of the fire tale, the hunting epic, and all of the ways language feeds the blood of imagination.""The scope of this project reflects the dynamic and diverse writing that is currently taking place by people who consider their home to be the Great Lakes state. Stories are far-ranging, from the streets of Detroit and the iconic presence of the auto industry to the wild tracts of the Upper Peninsula, to a couple on the west coast trying to figure out parenting. The book vibrates with that tension, of metal versus rock and human frailty taking on the pitfalls and hardships of living in this world.In his foreword, Charles Baxter asks, ""Does a region give rise to a particular kind of literature? Michigan is so fiercely diverse in its landscapes, its economy, and its population demographics that it presents anybody who wants to write about it with a kind of blank slate. You can't summarize the state easily."" These storytellers exude a ""Michigan aesthetic"" in their writing, something that cannot be learned in a textbook or taught in a classroom but can be felt through the tales of these storytellers.The experience of picking up this collection is akin to taking a drive from the mechanized world and arriving several hours later in one of the wildest places on earth. Readers of short fiction will enjoy the multitude of voices in this anthology.

Lying in the River's Dark Bed: The Confluence of the Deadman and the Mad Angler by Michael Delp is a collection of fifty-six poems that brings together two characters Delp has been perfecting for years: Deadman and the Mad Angler. The Deadman, a spirit that constantly shifts, is one part troublemaker, one part truth-teller, and one part demon who demands respect. The Mad Angler, on the other hand, could be called the Mad Shaman or Mad Activist, as he speaks of the water and nature and then of the greed of man. While these two personas are distinct in the collection (highlighted beautifully in the unique double-sided book design) they also come together at times in perfect harmony.The Deadman and the Mad Angler are walking contradictions-twin sons of different mothers. The Deadman is a trickster figure, a hive of contradictions. He can be killed but cannot die. He is supremely intelligent, yet is as dumb as a stone. He is an enigma to himself and to all others, yet he understands the origins and the meanings of the inner lives of all things. He is impossible to understand, yet somehow through his musings enlightenment occurs. His poems inspire contentedness, even though they might frighten you first in order to do so. The Mad Angler is more finely tuned, focused primarily on the environment. He exercises more restraint and resistance than his scattered brother, focusing on nature and on what is flowing in the water around him and inside of him. His voice is sure and firm on all things water related because he is as much river as person. The collection embraces these voices as separate and unique identities, while highlighting a center section called ""Confluence,"" the place where these two come together to meditate on some of the most profound emotions evoked by the contemporary world.Lying in the River's Dark Bed reflects the compatibilities and contradictions of the natural world. These ritualized poems are both funny and thought provoking and an example of persona writing at its best. Those interested in conversational poetry and environmental writing will be enthralled with this stirring yet soothing collection.

In I Want to Be Once, M. L. Liebler approaches current events with a journalistic eye and a poet's response. Part autobiographical, part commentary, the lines of Liebler's poems come hard-hitting, but not without moments of great tenderness and humanity.Ordered into three sections, I Want To Be Once provides readers with a look into the author's personal life, as well as our collective history as a nation vis-à-vis the American media. The first section, called ""American Life,"" captures the experience of coming of age in working-class 1960s America and helps to paint the picture of Liebler's early political involvement. The poems in the second section, ""American War,"" focus on the author's cultural work in Afghanistan for the U.S. State Department; Liebler successfully captures the sad realities and fleeting stability of everyday life in Kabul, Jalalabad, and Kandahar. In the final section, ""American Psalms,"" the short, satirical poems muse on present-day American society, culture, and the arts. In these poems, Liebler remarks on everything from public education to public radio to Russia's feminist punk rock protest group Pussy Riot and more.The poems in I Want to Be Once are emotionally grounding but punctuated with a humor that keeps things in perspective. Readers with an interest in poetry and social commentary will be drawn to this engaging collection.

Charts the emotional, political, and economic landscapes of the working-class Metro Detroit community and its residents.

A modern-day fairy tale told in conversation between a young girl and the mermaid of Lake Michigan.The Lake Michigan Mermaid is a new tale that feels familiar. The breeze off the lake, the sand underfoot, the supreme sadness of being young and not in control—these sensations come rushing back page by page, bringing to life an ancient myth of coming of age in a troubled world. Freed from the minds of Linda Nemec Foster and Anne-Marie Oomen, the Lake Michigan mermaid serves as a voice of reason for when we’re caught in the riptide.This is a gripping tale in poems of a young girl’s desperate search for guidance in a world turned upside down by family and economic upheaval. Raised in a ramshackle cottage on the shores of Lake Michigan, Lykretia takes refuge in her beloved lake in the face of her grandmother’s illness and her mother’s eager attempts to sell their home following her recent divorce. One day Lykretia spots a creature in the water, something beautiful and inexplicable. Is it the mythical Lake Michigan mermaid, or an embodiment of the stories her grandmother told as dementia ravaged her mind? Thus begins a telepathic conversation between a lost young girl and Phyliadellacia, the mermaid who saves her in more ways than one.Accompanied by haunting illustrations, The Lake Michigan Mermaid offers a tender tale of friendship, redemption, and the life-giving power of water. As it explores family relationships and generational bonds, this book is an unforgettable experience that aims to connect readers of all ages.

Short poems that look closely at small moments in a personal history, in art, and in the natural world.

Poetry that recounts Great Lakes shipwrecks through imagination and history.

The poems in Russell Thorburn’s Somewhere We’ll Leave the World are fluid and masterful with a flow that captures an authentic consciousness. These poems breathe and allow the reader breathing room. Powerful images and deft endings arrive like the best kind of emotional left hook—the kind that leaves you wanting more.This book is for long-walkers and dreamers who don’t mind the cold or heat or the miles ahead. The reader is taken on a journey through snowy woods, stopping to confront a wolf or meet with Jim Harrison. Divided into four sections, Somewhere We’ll Leave the World draws on the poet’s own experiences while imagining chance encounters with fictional characters and personal heroes. Before long, it is obvious to the reader that every moment is up for grabs—a late night viewing of Hell Is for Heroes, a drive down Woodward Avenue in a friend’s Volkswagen, a hike through the Mojave National Preserve. Through the book’s filmic scenes, imagine Wim Wenders behind the camera as the poet re-creates the scenes of his own life. In good company with the likes of Charles Bukowski and James Wright, Thorburn tips his hat to those who have come before him, while blazing his own winding and fantastical trail. This thoroughly unique poetry collection gives us an honest and lyrical assessment of national wounds. Fans of surreal poetry will relish Thorburn’s work.

Beautifully-crafted prose from one of Michigan’s most original voices.

Idealistic characters fight to hold onto a life that is slipping out of their grasp.

Poems inspired by a love of the living world and the actions that destroy what sustains us.Janet Kauffman describes ""eco-dementia"" as a paradoxical condition of humanity—a love of the living world while simultaneously causing and suffering from its destruction. Like other dementias, losses are profound. We lose touch, we forget. We don’t recognize our own home—the habitat that sustains us. What has driven us to exploit more and more resources, even when risking self-annihilation? Eco-dementia is not nature poetry but an immersive language in the tangle of the living world that asks the question: can we survive this relationship?The poems in Eco-dementia took shape in one decade of the author’s life. In three sections, Kauffman reflects on insanities and devastations, from the personal to the global. From her father’s Alzheimer’s and the ravaged world of his mind to the horrors of Abu Ghraib, Hurricane Katrina, and toxins in Lake Erie, as well as the planetary-wide ecological catastrophe of climate change. Yet despite this devastation, it is possible to surround ourselves in light and air, to touch the tall grasses we love, to step into water and shade and feel an intense, momentary joy. Kauffman’s poems show the bliss within the elemental richness of the natural world and also the violent distortions and grief at its devastation. Like learning a new language, we can see and hear words, sometimes understanding so clearly and other times not at all. Or as Kauffman’s father puts it, ""I know where you live, but I don’t know who you are."" The language of these poems is the physical material of a damaged world. Readers of modern and experimental poetry will treasure this collection.

A personal narrative of past and present racial violence and resistance to terror in the United States.Rae Paris began writing The Forgetting Tree: A Rememory in 2010, while traveling the United States, visiting sites of racial trauma, horror, and defiance. The desire to do this work came from being a child of parents born and raised in New Orleans during segregation, who ultimately left for California in the late 1950s. After the death of her father in 2011, the fiction Paris had been writing gave way to poetryand short prose, which were heavily influenced by the questions she’d long been considering about narrative, power, memory, and freedom. The need to write this story became even more personal and pressing. While Paris sometimes uses the genre of ""memoir""or ""hybrid memoir"" when referring to her work, in this case the term ""rememory,"" born from Toni Morrison’s Beloved, feels most accurate. Paris is driven by the familial and historical spaces and by what happens when we remember seemingly disparate images and moments. The book’s three sections are motivated by the ongoing movement for black lives—with the headings ""Bones,"" ""Bodies,"" and ""Souls."" Paris’s writing is raw and unapologetic as it delves into a history shaped by stories of terror and resistance. The collection is not fully prose or poetry, but more of an extended funeral program or a prayer for those who have passed through us.A perfect blending of prose, poetry, and images, The Forgetting Tree is a unique and thought-provoking collection that argues for a deeper understanding of past and present so that we might imagine a more hopeful, sustainable, and loving future.