Made in Michigan Writers Series – serie

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 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.

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 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.

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.

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.

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.

Poetry that uses American folk music as a lens to investigate themes of family, art, and masculinity.Firmly rooted in the dramatic landscapes and histories of Michigan, Field Recordings uses American folk music as a lens to investigate themes of personal origin, family, art, and masculinity. The speakers of these poems navigate Michigan’s folklore and folkways while exploring more personal connections to those landscapes and examining the timeless questions that occupy those songs and stories. With rich musicality and lyric precision, the poems in Field Recordings look squarely at what it means to be a son, a brother, an artist, a person.Inspired by the life and writings of famous enthomusicologist Alan Lomax, Field Recordings is divided into three sections. It is anchored by a long poem that tracks Alan Lomax on his 1938 journey through Michigan collecting music for the Library of Congress. This poem speaks to the complex process of recording the voices and stories of working-class musicians in Michigan in the early part of the twentieth century. It is rich with the pleasures of music and storytelling and is steeped in history. Like the rest of the collection, it also speaks to the questions and anxieties that, like music, transcend time and technology.In poems alternately elegiac and rhapsodic, Field Recordings explores the way art is produced and translated, the line between innovation and appropriation, and the complex, beautiful stories that are passed between us. From poetry readers to poets, music fans to musicians, this collection will undoubtedly appeal to a wide audience.

New creative nonfiction by some of Michigan’s most well-known and highly acclaimed authors.Elemental: A Collection of Michigan Creative Nonfiction comes to us from twenty-three of Michigan’s most well-known essayists. A celebration of the elements, this collection is both the storm and the shelter. In her introduction, editor Anne-Marie Oomen recalls the ""ritual dousing"" of her storytelling group's bonfire: ""wind, earth, fire, water, all of it simultaneous in that one gesture. . . . In that moment we are bound together with these elements and with this place, the circle around the fire on the shores of a Great Lake closes, complete.""The essays approach Michigan at the atomic level. This is a place where weather patterns and ecology matter. Farmers, miners, shippers, and loggers have built (or lost) their livelihoodon Michigan’s nature—what could and could not be made out of our elements. From freshwater lakes that have shaped the ground beneath our feet to the industrial ebb and flow of iron ore and wind power-ours is a state of survival and transformation. In the first section of the book, ""Earth,"" Jerry Dennis remembers working construction in northern Michigan. ""Water"" includes a piece from Jessica Mesman, who writes of the appearance of snow in different iterations throughout her life. The section ""Wind"" houses essays about the ungraspable nature of death from Toi Dericotte and Keith Taylor. ""Fire"" includes pieces Mardi Jo Link, who recollects the unfortunate series of circumstances surrounding one of her family members.Elemental's strength lies in its ability to learn from the past in the hope of defining a wiser future. A lot of literature can make this claim, but not all of it comes together so organically. Fans of nonfiction that reads as beautifully as fiction will love this collection.

Black Indian, searing and raw, is Amy Tan's The Joy Luck Club and Alice Walker's The Color Purple meets Leslie Marmon Silko's Ceremony-only, this isn't fiction. Beautifully rendered and rippling with family dysfunction, secrets, deaths, drunks, and old resentments, Shonda Buchanan's memoir is an inspiring story that explores her family's legacy of being African Americans with American Indian roots and how they dealt with not just society's ostracization but the consequences of this dual inheritance. Buchanan was raised as a Black woman, who grew up hearing cherished stories of her multi-racial heritage, while simultaneously suffering from everything she (and the rest of her family) didn't know. Tracing the arduous migration of Mixed Bloods, or Free People of Color, from the Southeast to the Midwest, Buchanan tells the story of her Michigan tribe-a comedic yet manically depressed family of fierce women, who were everything from caretakers and cornbread makers to poets and witches, and men who were either ignored, protected, imprisoned, or maimed-and how their lives collided over love, failure, fights, and prayer despite a stacked deck of challenges, including addiction and abuse. Ultimately, Buchanan's nomadic people endured a collective identity crisis after years of constantly straddling two, then three, races. The physical, spiritual, and emotional displacement of American Indians who met and married Mixed or Black slaves and indentured servants at America's early crossroads is where this powerful journey begins. Black Indian doesn't have answers, nor does it aim to represent every American's multi-ethnic experience. Instead, it digs as far down into this one family's history as it can go-sometimes, with a bit of discomfort. But every family has its own truth, and Buchanan's search for hers will resonate in anyone who has wondered ""maybe there's more than what I'm being told.

Night Manual is a survival guide for life-all the messy, wonderful, grieving, and self-doubting parts of life. David Hornibrook's debut poetry collection is a book of hours that keeps time through anguish and explores the ineffable borderland of existence. These are poems that seek to get at what cannot be described through a process of negation-to delineate the shape of an absence by writing the things around it.Night Manual is divided into four sections loosely inspired by the four seasons. Each section explores the theme of absence from a slightly different proximity; as a whole, the book progresses from grief to gratitude. A major task of Hornibrook's is to communicate the gravity and perplexity of loss while at the same time charting out a kind of liturgy of joy and wonder at the cycle of life in an ever-changing world. With lines like ""My eyes are pulled to the monitor / where a universe expands or contracts, I can't tell which"" (from ""The Ultrasound"") to ""Facebook keeps showing Miley with her mouth open / & I keep finding little things wrong with everything"" (from ""Self Portrait w/ Wrecking Ball""), Hornibrook has created instructions for moving through a world suddenly disoriented by loss, a world with starlings, water birds and aliens, robots and deer, Miley Cyrus and God, black holes, and the quiet morning strangeness of a house when all the people you love are still asleep. Fans of contemporary poetry who want to believe in something again-who need a small dose of absurdity along with their suffering-this collection is for you.

The Desk on the Sea begins four years after American poet Jonathan Johnson spread his mother's ashes in her beloved Lake Superior and moved with his wife and young daughter into a seventeenth-century cottage on Scotland's North Sea. On an idyllic, desolate coast and in the wild Highlands, Johnson began his search for a way to live through ongoing grief and to take in the wonder of each new day.Through years of extraordinary suffering by way of multiple ailments, Johnson's mother, Sheila, endured an astounding number of amputations-a toe, the end of a finger, a foot, whole fingers, the other foot. What she lost in her physical being, she gained in her kindness and generosity. By the time she was told that the only way she could survive a little longer was the amputation of both hands, she was capable of giving those who loved her and herself a beautiful death instead. Inspired by her example of grace and awareness, Johnson and his family gave themselves one year on the coast of Scotland to live by Shelia's great, guiding principle: We don't get the days back. They wandered trails along windswept shores and past the stone ruins left by people who'd come and gone before. They played as characters from Harry Potter on deserted beaches. From their cottage, they watched an island lighthouse, counting the seconds between flashes to know exactly when to say ""goodnight"" so the lighthouse would answer with a wink.The Desk on the Sea is a chronicle of progress toward one man's new life goal-to be a father, husband, and poet worthy of his mother's legacy. Sustained by an unwavering belief that words can help us fully occupy our lives, and that imagination and empathy can transform suffering into what John Keats called ""soul-making,"" Johnson offers readers a raw look at love and loss.

come see about me, marvin is accessible, honest poetry about and for real people. In the collection, brian g. gilmore seeks to invite the reader into a fantastical dialogue between himself and Marvin Gaye-two black men who were born in the nation's capital, but who moved to the Midwest for professional ambitions. In trying to acclimate himself to a new job in a new place-a place that seemed so different from the home he had always known-gilmore often looked to Marvin Gaye as an example for how to be. These poems were derived as a means of coping in a strange land. The book is divided into four sections, beginning with section one, ""love that will shelter you,"" and features poems about dealing with life in Michigan as it is in reality. Sections two and three, ""nowhere to hide"" and ""no ordinary pain,"" include poems about the brutality of the Midwest and some of the historical realities as gilmore came to understand them. The final section, ""let your love come shining through,"" attempts to invoke hope in poetry. come see about me, marvin is gilmore's answer to life's perpexing issues, with Marvin Gaye as the perfect vehicle to explore these ideals. Readers of poetry and lovers of Motown will embrace this love letter to a local legend.

Ames Hawkins's These are Love(d) Letters is a genre-bending visual memoir and work of literary nonfiction that explores the questions: What inspires a person to write a love letter? What inspires a person to save a love letter even when the love has shifted or left? And what does it mean when a person uses someone else's love letters as a place from which to create their own sense of self? Beginning with the ""simple act"" of the author receiving twenty letters written by her father to her mother over a six-week period in 1966, These Are Love(d) Letters provides a complex pictorial and textual exploration of the work of the love letter. Through intimate and incisive prose-the letters were, after all, always intended to be a private dialogue between her parents-Hawkins weaves her own struggles with gender, sexuality, and artistic awakening in relation to the story of her parents' marriage that ended in divorce. Her father's HIV diagnosis and death by complications related to AIDS, provide the context for an unflinchingly honest look at bodily disease and mortality. Hawkins delicately and relentlessly explores the tensions in a father-daughter relationship that stem from a differently situated connection to queer identity and a shared struggle with artistic desire. In communion with queer and lesbian writers from Emily Dickinson and Virginia Woolf to Alison Bechdel and Maggie Nelson, Hawkins pushes exploration of the self with the same intellectual rigor that she critiques the limits of epistolarity by continually relocating all the generative and arresting creative powers of this found art with scholarly rhetorical strategies. Exquisitely designed by Jessica Jacobs, These are Love(d) Letters presents an affective experience that reinforces Hawkins's meditations on the ephemeral beauty of love letters. As poetic as it is visually enticing, the book offers both an unconventional and queer(ed) understanding of the documentarian form, which will excite both readers and artists across and beyond genres.

Gail Griffin had only been married for four months when her husband's body was found in the Manistee River, just a few yards from their cabin door. The terrain of memoir is full of stories of grief, though Grief's Country: A Memoir in Pieces is less concerned with the biography of a love affair than with the lived phenomenon of grief itself-what it does to the mind, heart, and body; how it functions almost as an organism. The book's intimacy is at times nearly disarming; its honesty about struggling through grief's country is unfailing. The story is told "in pieces" in that it is ten essays of varying forms, punctuated by four original poems, that examine facets of traumatic grief, memory, and survival. While a reader will perceive a forward trajectory, the book resists anything like a clear chronology, offering a picture of deep grief as something that defies the linear and explodes time. "A Strong Brown God" tells the story of two of Griffin's significant relationships-with her husband, Bob, and with the Manistee River-and includes the history of what drew them all together. "Grief's Country" follows Griffin from the morning after Bob's death through the first disoriented, fractured months of PTSD. "Heartbreak Hotel" takes Griffin on a tragicomical flight the first Christmas after Bob's death to a Jamaican resort-which includes an unscheduled stop at Graceland-where she contemplates the notions of home and haven. Grief's Country will speak directly to anyone who has lost a dearly loved one, offering not one story but ten different faces of grief to contemplate. It will also appeal to general readers of memoir, including teachers and students of nonfiction, especially as it includes a variety of formal models. Those interested in the subject area of death and dying will find it useful as a book that bypasses recovery narratives, truisms, and "stages of grief" to get as close as possible to the experience itself.

Words like Thunder: New and Used Anishinaabe Prayers is a collection of poetry by award-winning Ojibwe author Lois Beardslee. Much of the book centers around Native people of the Great Lakes but has a universal relevance to modern indigenous people worldwide. Beardslee tackles contemporary topics like climate change and socioeconomic equality with a grace and readability that empowers readers and celebrates the strengths of today's indigenous peoples. She transforms the mundane into the sacred. Similar in style to Nikki Giovanni, Beardslee might lure in readers with the promise of traditional cultural material, even stereotypes, before quickly pivoting toward a direction of respect for the contemporaneity and adaptability of indigenous people's tenacious hold on traditions.Made up of four sections, the book is like a piece of artwork. Parts of the word-canvas are quiet so the reader can rest and other parts lead the reader quickly from one place to another, while always maintaining eye contact. More than anything, Beardslee emphasizes the notion that indigenous peoples are competent and wonderful, worthy of praise, and whose modernity is a function of their survival. She writes unapologetically with a strong ethnic identity as a woman of color who witnessed and experienced community loss of resources that defined her culture. Her stories transcend generations, time, and geographical boundaries-varying in voice between first person or that of her elders or children-resulting in a collective appeal. Beardslee continues to break the mold and push the boundaries of contemporary Native American poetry and prose. This book will appeal to a general readership, to people who want to learn more about indigenous peoples of the Great Lakes, and to people who care about the environment and socioeconomic equality. Even young readers, especially students of color, will find parts of this book to which they can relate.

If you thought the suburbs were boring, think again. Kelly Fordon's I Have the Answer artfully mixes the fabulist with the workaday and illuminates relationships and characters with crisp, elegant prose and dark wit. The stories in Fordon's latest collection are disquieting, humorous, and thought-provoking. They might catch you off guard, but are always infused with deep humanity and tenderness.In these thirteen short stories, Fordon presents people dealing with the grayness of reality and longing for transcendence. Characters within these stories are often as surprised by their own behavior as that of their neighbor's. In "Jungle Life," the narrator attempts to clarify and document the stories of his father, a war veteran, before he descends into dementia. In "Where's the Baby?" a woman reflects on her difficult childhood as she grudgingly cares for her more successful, yet exasperating sister. In "In the Dog House," a woman visits an estate sale and sifts through the layers of lifetimes past while grappling with her long-standing jealousy of a mysterious neighbor. In "The Shorebirds and The Shaman," a woman who has just lost her husband winds up at a kooky weekend retreat role-playing her way out of debilitating grief. Award-winning author Desiree Cooper has called the stories in I Have the Answer "pitch perfect . . . Fordon takes us to the precipice where trauma and triumph are equal possibilities. The people in these stories are so hauntingly real that long after I put the book down, I found myself wondering what had become of them." Readers of contemporary fiction and short stories will enjoy mulling over the complicated feelings this collection evokes.

Alison Swan's collection of poems, A Fine Canopy, illustrates how the natural world envelops and encloses us with so many beautiful things: crowns of leaves, the ubiquitous blue sky, our luminous moon, and snow. So much snow. An ecopoet whose writing shows her advocacy for natural resources, in this collection Swan calls the reader to witness, appreciate, and sustain this world before it becomes too late. These poems were written out of an impulse to track down wisdom in the open air, outside of the noisy world of cars and commerce. Swan seeks insight on shores and in scraps of woods and fields-especially on four particular peninsulas: Michigan's upper and lower, Florida, and Washington state's Olympic-and also inside motherhood, which might be the wildest place of all.These are poems about the interconnection of all things, and "knowing things we cannot see". A journey through seasons with a soundtrack of birdsong, Swan's words are incredibly sensory. The reader is made to feel the weight of muddy jeans, the jolt at the tug of a dog's leash, and to see the bright flash of a cardinal's red plumage. Swan's poems remind us that although we all want to make a mark on our world, the smaller the better: stepping into fresh snow, dashing through forests atop dry leaves, laying wet bodies on warm concrete. These quiet interactions with places are as hopeful as they are harmless.Without necessarily tackling the topics head-on, A Fine Canopy evokes the devastation of climate change and the destruction of natural resources. This book engages deeply with the other-than-human to express and investigate alarm, dismay, anger, admiration, adoration in what feels like the end of the world unless we begin to think outside the box. These poems will carry weight with all readers of poetry, especially those who are interested in ecopoetry and connecting with the world around them.

In a thrilling interconnected narrative, You're in the Wrong Place presents characters reaching for transcendence from a place they cannot escape. Charles Baxter stated that "Joseph Harris has a particular feeling for the Detroit suburbs and the slightly stunted lives of the young people there....You're in the Wrong Place isn't uniformly downbeat-there are all sorts of rays of hope that gleam toward the end".The book, composed of twelve stories, begins in the fall of 2008 with the shuttering of Dynamic Fabricating-a fictional industrial shop located in the Detroit suburb of Ferndale. Over the next seven years, the shop's former employees - as well as their friends and families-struggle to find money, purpose, and levity in a landscape suddenly devoid of work, faith, and love.In "Would You Rather", a young couple brought together by Dynamic Fabricating shares a blissful weekend in Northern Michigan, unaware of the catastrophe that awaits them upon their return home. In "Acolytes", a devout Catholic clings to her faith as her brothers descend into cultish soccer violence. In "Memorial", an ex-Dynamic worker scrapes money together for a tribute to his best friend, lost to the war in Afghanistan. In "Was It Good for You?" a cam girl deconstructs materialism with her ageng great aunt, a luxury sales associate, and an anxious, faceless client. And in the title story, simmering tensions come to a boil on a hot summer day for a hardscrabble landscaping crew, hired by the local bank to maintain the lawns of foreclosuresIn turns elegiac and harrowing, You're in the Wrong Place blends lyric intensity with philosophical eroticism to create a singular, powerful vision of contemporary American life. Readers of contemporary fiction grounded in place need to take up this collection.

In How Other People Make Love, Thisbe Nissen chronicles the lives and choices of people questioning the heteronormative institution of marriage. Not best-served by established conventions and conventional mores, these people-young, old, gay, straight, midwestern, coastal-are finding their own paths in learning who they are and how they want to love and be loved, even when those paths must be blazed through the unknown. Concerning husbands and wives, lovers and leavers, Nissen's stories explore our search for connection and all the ways we undercut it, unwittingly and intentionally, when we do find it. How do we hold ourselves together-to function, work, and survive-while endlessly yearning to be undone, unraveled, and laid bare, however untenable and excruciating?How Other People Make Love contains nine stories. "Win's Girl" features a single woman who works at an Iowa slaughterhouse and uses the insurance money from a car accident to update the electric system in her dead parents' old house, only to be unwittingly embroiled with a shady electrician who ultimately forces her to stand up for herself. In "Home Is Where the Heart Gives Out and We Arouse the Grass," a young woman flees after cheating on her husband and winds up at a Nebraska roadside motel populated by participants in a regional dog show who help her decide what to do next. In "Unity Brought Them Together," a young man heads to his favorite New York coffee shop intending to finish the Christmas cards his vacationing fiancée insists on sending, but winds up meeting another displaced young midwestern man there and going home with him instead. All these stories explore the question, "how do we love?" as well as the answers we find, discard, follow, banish, and cling to in all our humanness and desperation. How Other People Make Love asserts that there aren't right and wrong ways to love; there are only our very complicated and contradictory human hearts, minds, bodies, and desires-all searching for something, whether we know what that is or not. These are stories for anyone who has ever loved or been loved.

In sixteen essays, each named after a species of tree, Maureen Dunphy explores the nature of human-arboreal relationships, and how each of these trees has—literally—served as a friend, a confidante, or a place to rest. The depth and diversity of these relationships are revealed through essays that are both intimate and universal, moving and informative. While Dunphy's relationships with trees are unique and personal, her work reveals the deep-rooted complexity that connects all of humanity to our staunch, upright companions in life, the members of the "Standing Nation." Beyond providing oxygen, food, and shelter, trees can be sites of emotional refuge, sources of intellectual enrichment, and a boon to physical, mental, and spiritual health.With essays, such as "Stairway to Heaven: The American Sycamore" and "Rocky Mountain High: The Colorado Pinyon," Dunphy gives readers many ways to reimagine our relationships with nature and self. Within reflections of her personal experience, she skillfully integrates scientific facts to achieve a balance of passion and practicality. While technology, screens, and the stress of the modern world directs our attention elsewhere, Dunphy brings the reader back to the trees right outside our windows.

Over the course of two decades and six books, Peter Markus has been making fiction out of a lexicon shaped by the words brother and fish and mud. In an essay on Markus's work, Brian Evenson writes, ""If it's not clear by now, Markus's use of English is quite unique. It is instead a sort of ritual speech, an almost religious invocation in which words themselves, through repetition, acquire a magic or power that revives the simpler, blunter world of childhood."" Now, in his debut book of poems, When Our Fathers Return to Us as Birds, Markus tunes his eye and ear toward a new world, a world where father is the new brother, a world where the father's slow dying and eventual death leads Markus, the son, to take a walk outside to ""meet my shadow in the deepening shade."" In this collection, a son is simultaneously caring for his father, losing his father, and finding his dead father in the trees and the water and the sky. He finds solace in the birds and in the river that runs between his house and his parents' house, with its view of the shut-down steel mill on the river's other side, now in the process of being torn down. The book is steadily punctuated by this recurring sentence that the son wakes up to each day: My father is dying in a house across the river. The rhythmic and recursive nature to these poems places the reader right alongside the son as he navigates his journey of mourning. These are poems written in conversation with the poems of Jack Gilbert, Linda Gregg, Jim Harrison, Jane Kenyon, Raymond Carver, Theodore Roethke too-poets whose poems at times taught Markus how to speak. ""In a dark time . . .,"" we often hear it said, ""there are no words."" But the truth is, there are always words. Sometimes our words are all we have to hold onto, to help us see through the darkened woods and muddy waters, times when the ear begins to listen, the eye begins to see, and the mouth, the body, and the heart, in chorus, begin to speak. Fans of Markus's work and all of those who are caring for dying parents or grieving their loss will find comfort, kinship, and appreciation in this honest and beautiful collection.

Mortality, With Friends is a collection of lyrical essays from Fleda Brown, a writer and caretaker, of her father and sometimes her husband, who lives with the nagging uneasiness that her cancer could return. Memoir in feel, the book muses on the nature of art, of sculpture, of the loss of bees and trees, the end of marriages, and among other things, the loss of hearing and of life itself. Containing twenty-two essays, Mortality, With Friends follows the cascade of loss with the author's imminent joy in opening a path to track her own growing awareness and wisdom. In ""Donna,"" Brown examines a childhood friendship and questions the roles we need to play in each other's lives to shape who we might become. In ""Native Bees,"" Brown expertly weaves together the threads of a difficult family tradition intended to incite happiness with the harsh reality of current events. In ""Fingernails, Toenails,"" she marvels at the attention and suffering that accompanies caring for our aging bodies. In ""Mortality, with Friends,"" Brown dives into the practical and stupefying response to her own cancer and survival. In ""2019: Becoming Mrs. Ramsay,"" she remembers the ghosts of her family and the strident image of herself, positioned in front of her Northern Michigan cottage. Comparable to Lia Purpura's essays in their density and poetics, Brown's intent is to look closely, to stay with the moment and the image. Readers with a fondness for memoir and appreciation for art will be dazzled by the beauty of this collection.

The poems in Gun/Shy deal with the emotional weight of making do. Tinged with both the regrets and wisdom of aging, Jim Daniels's poems measure the wages of love in a changing world with its vanishing currency. He explores the effects of family work-putting children to bed, leading parents to their final resting places-and what is lost and gained in those exertions. Childhood and adolescence are examined, through both looking back on his own childhood and on that of his children. While his personal death count rises, Daniels reflects on his own mortality. He finds solace in small miracles-his mother stretching the budget to feed five children with ""hamburger surprise"" and potato skins, his children collecting stones and crabapples as if they were gold coins. Daniels, as he always has, carries the anchor of Detroit with him, the weight both a comfort and a burden. He explores race, white privilege, and factory work. Eight Mile Road, a fraught border, pulses with division, and the echoes of music, singing through Detroit's soiled but solid heart, resonate in these poems. His first long poem in many years, ""Gun/Shy,"" centers the book. Through the personas of several characters, Daniels dives into America's gun culture and the violent gulf between the fearful and the feared. Throughout, he seeks connection in likely and unlikely places: a river rising after spring rain and searchlights crossing the night sky. Comets and cloudy skies. Cement ponds and the Garden of Eden. Adolescence and death. Wounds physical and psychic. Disguises and more disguises. These are the myths we memorize to help us sleep at night, those that keep us awake and trembling. Daniels's accessible language, subtlety, and deftness make this collection one that belongs on every poetry reader's shelf.

Stephanie Heit's hybrid memoir poem blasts the page electric and documents her experience of shock treatment. Using a powerful mélange of experimental forms, she traces her queer mad bodymind through breathlessness, damage, refusal, and memory loss as it shifts in and out of locked psychiatric wards and extreme bipolar states. Heit survives to give readers access to this somatic, visceral rendering of a bipolar life complete with sardonic humor, while showing us the dire need for new paradigms of mental health care outside closets, attics, prisons, and wards. Psych Murders adds a vital layer of lived experience of electroshocks and suicidal ideation to the growing body of literature of madness and mental health difference.