Wheelbarrow Books – serie

For poet and nurse practitioner Cortney Davis, the truth revealed through poetry is similar to what she has experienced in the heightened and urgent dramas that occur in health care—those suspended moments in which a dying heart might be revived or unbearable suffering relieved. We are vulnerable, her poems say, and we are dependent on one another—on the ways in which we care or fail to care for one another, in how we love or fail to love. In poems that are sensual, emotionally searing, and yet unfailingly tender, Davis shines a caregiver’s light on the most intimate details of the human body and the spirit within—how the flesh might betray, how it endures, and how ultimately it triumphs.

In this debut poetry collection by an award-winning fiction writer, the longing for God and the poignancy of family life echo each other’s music. The traditional forms of sonnet, sestina, and villanelle punctuate more modern verse forms, this combination being only one of the strands binding past and present. Many of these poems may be read as confessions—of joy, of hurtfulness given or received, of awe at the inescapable reality of love. This volume comprises spiritual writing that remains firmly of this world, part apostasy, part song, reaching out for meaning from both the shifting landscape of Maryland’s Chesapeake Bay and the interior places of the heart.

In The Infinity Room the reader will find polished, precise poems that are built around the author’s experiences of touring Nevada’s atomic bomb test sites, the Chernobyl disaster site, and Oak Ridge, as well as living for decades near Three Mile Island. These iconic landmarks of the threat of nuclear technology become more than talking points as they provide grounding for narratives of faith and skepticism from multiple viewpoints that employ science, religion, history, myth, politics, and popular culture, including a piece about the author’s experience as a student at Kent State at the time of the National Guard shooting. The poems here are tightly controlled but electric, dark yet vibrant with love and longing, and packed with memorable characters and places that are presented through a singular, lyrical voice that connects us to what it means to be human.

Looking back, within, and ahead—while ultimately focusing on the here and now—Kristin Brace traverses landscapes of memory, dreams, and the imagination, exploring the fragments and shifting perspectives that shape experience and identity and reinvigorate the creation of meaning. With tenderness and wonder, these poems build their own stepping stones for the journey, moving from connection to disconnection, frailty to strength, and fierce love to intense isolation, depicting a whole that is enlivened by the coexistence of seemingly opposing forces, emotions, and experiences. Despite the darkness and uncertainty they embody, the poems in this collection insist on their existence, forever traveling toward moments alive with color and light. The poet draws from the riches of art, nature, and the quiet moments of every day in reflections often startling in language and content and unified by their voice-driven musicality. Fraught with illness, longing, and loss, these poems guide readers through the intricate geographies of the heart, sometimes hurtling, sometimes dancing, sometimes feeling their way through the dark toward the wild abundance of each new day.

In a stunning and visceral debut, Noah Davis ushers in a new era of poems from the Alleghenyregion of Appalachia. In chronicling the river valley’s human and more-than-human worlds through acts of modern myth making, Davis expands the scope of contemporary American poetry. This soulful meditation on a neglected region of America reveals a legacy of lingering violence to land and animal alike. In striking stories and scenes, Davis portrays the spiritual cost of deep poverty, the necessity to ask for forgiveness, and the joy in praising the beauty still found in the steep hollows. These poems will cling to you like water on the soles of your boots.

Selected by Mark Doty for the 2019 Wheelbarrow Books Poetry PrizeIn Not For Luck, Derek Sheffield ushers us into the beauty and grace that comes from giving attention to the interconnections that make up our lives. In particular, these poems explore a father’s relationship with his daughters, which is rooted in place and time. There is tenderness and an abiding ecological consciousness, but also loss and heartache, especially about environmental degradation. We are invited to listen to the languages of other beings. Through encounters with a herd of deer, a circle of salmon in a mountain creek, two bears on a stretch of coast, a river otter, and a shiny-eyed wood rat, these poems offer moments of wonder that celebrate our place as one species among many on our only earth.

The first-ever poetry book set on a llama farm, Daniel Lassell’s debut collection, Spit, examines the roles we play in the act of belonging. It is a portrait of a boy living on a farm populated with chickens sung to sleep by lullaby, captive wolves next door that attack a child, and a herd of llamas learning to survive despite coyotes and a chaotic family. The collection in part explores the role of the body in health and illness and one’s treatment of the earth and others. A theme of spirituality also weaves throughout the collection as the speaker treks into adulthood, yearning for peace amid the decline of his parents’ marriage. Driven by a “wish to visit / some landless landscape,” the speaker eventually leaves his family’s farm, only to find that return is impossible. After losing the farm and the llama herd to his parents’ divorce, the speaker wrestles with the role of presence as it relates to healing, remarking, “I wish enough, / to have only // these memories I have.” Unflinching at every turn, the collection pushes the boundaries of “home” to arrive upon new meaning, definition, and purpose.

This collection chronicles coming of age as a queer millennial in a twenty-first century America defined by the internet, climate crisis, and a growing disconnection that the poems within work to resist. Here, everyone and everything serves as a potential reflection for something larger than the poet can understand: an unknown debit card thief, the cartoon teacher Ms. Frizzle, The Weather Channel, an RV park, a dead poet. These poems seek to make something of the spaces between and reach toward a sense of the ecstatic just beyond. They are poems of imagination and vision that strive to look rather than look away, that attempt to capture a nebulous feeling before it is gone for good. Swan Hammer is an instructor’s guide to connection-making, of seeing and then seeing again, in ways that have been redefined in the age of the internet. Here is one poet’s wandering relationship to their own sense of what it is to be alive and queer at a time when there is so much on the brink of disappearing—and what a queer experience it is.

Ice Hours is a suite of poems set in majestic and severe Antarctica, chronicling the nearly forgotten story of the Ross Sea party. Weaving historical and scientific research into lilting verse, Marion Starling Boyer follows the adventurers who sailed on the Aurora at the beginning of World War I to support Sir Ernest Shackleton’s 1914–1917 Imperial Trans-Antarctic Expedition. These poems reveal the characters of the explorers and the conflicts they faced during the two years they labored to lay a chain of supply depots across the ice, unaware that Shackleton would never come because his ship, the Endurance, sank on the opposite side of the continent. The Ross Sea men battled frozen wastelands, scurvy, snow-blindness, starvation, hypothermia, and frostbite while their ship, the Aurora, was ice-trapped, marooning them without vital equipment, clothing, fuel, and food. Through lyric and formal poetic forms, Ice Hours brings to life the close of a heroic period interwoven with the brooding voice of the Antarctic continent, evoking themes of what occurs when humanity engages with the sublime.

Lesbian bars, libraries, highways, churches, and oil rigs set the scenes for the poems in Landlocked. Whether at work or at play, the speakers in Landlocked live in the space between longing and belonging, wanderlust and homesickness, and explore the intersection of place and identity. In the era of “don’t say gay,” these poems provide a defiantly queer perspective on Oklahoma, one of the reddest of the red states, and its many contradictions.

Pittsburghese, Robert Gibb’s latest book of poems, is a work of poignant remembrance, filled with revelations found in the everyday “debris of paradise.” The collection is anchored by personal and public histories, the city’s “consensus things” and “standard archaeologies,” as well as by music—jazz, blues, R&B and gospel—“sweet rebuttal” to the world’s “cold hymns.” Throughout, motifs function like the thorns on the jaggers—Pittsburghese for brambles—whose points engage the reader “one by one.” Other poems elegize the great buildings and working stiffs of the city’s industrial past, celebrating its artifacts and artworks, the “necessary mystery” of its trees and wild creatures. Particulars of a world in which dialect is the alembic, the means of expression and the shapes it takes on as well—habitation and name.

An Exodus of Sparks explores how violence reshapes family, geography, and faith. Predominantly set in the high desert, these poems explore the micro-losses of a father and brother (to downwinder-related cancer and substance abuse) against the macro-losses of a geography to nuclear testing and a tradition of faith to the ravages of grief. Liberally appropriating Judaic symbolism and wedding it to an inherited Mormon vocabulary and iconography, the poet/speaker wrests her power from her culture’s sacred texts to revise her position in sight of patriarchal systems. This collection is for anyone exploring how loss reshapes identity. The book is structured around a crown of sonnets in which the speaker assumes the story of Moses and resituates it in the American Southwest. The book itself is an elegy composed of several smaller elegies; a fallible history; and most of all, a love letter to the family, culture, and geography that shaped the poet and her work.