A taut, electrifying debut about a woman forced to confront unsettling truths about herself, her past, and the life she rebuilt following a ruinous affair with her former mentor, from a “lit world phenom” (Harper’s Bazaar).I have the sense that something is being drawn between us. Not drawn as in line but as in arrow pulled back. But I don’t know which of us holds the bow, and which of us faces the arrow. Christine is on tour for her novel, a revenge fantasy based on a real-life relationship gone bad with an older professor ten years prior. Now on the road, Christine is seeking answers—about how to live a good life and what it means to make art—through intimate conversations with strangers, past lovers and friends.But when the antagonist of her novel—her old painting professor—reaches out in a series of sly communiques after years of silence to tell her he's read her book, Christine must reckon with what it means to lose the reins of a narrative she wrote precisely to maintain control. When her professor invites her to join him at his cabin, deep in the woods of Maine, what she encounters threatens to change the very foundations of her life as she's imagined it. A delicately explosive high-wire act about the fictions we construct for ourselves just to survive, Discipline is a terse triumph about art-making and rigor, intimacy and attention, punishment and release.

A reinvention of visual poetry and personal history charting exile’s impact on memory, identity, and futurityIntellectual and intimate, Carolina Ebeid's Hide gathers shreds of memory, dream, and the ordinary artifacts of diaspora, as the poet casts a sounding line into her patrilineal and matrilineal histories in Palestine and Cuba. With the hum of cassettes and the glow of projectors, these poems superimpose voice upon voice, image upon image, a here upon a there, to disclose the choral noise inside postmemory.Hide is a restless innovation of form and multimodal expression breaking open words across Arabic, English, and Spanish to release hidden meanings. Poems trace the letter M back to the Phoenician pictograph of waves, while technological “glitches” are portals that summon oracular voices across the family archive. In swirling “spell” poems, Ebeid conjures Cuban American artist Ana Mendieta, whose Siluetas write the human shape upon the earth.Ebeid’s title is Hide as in concealment, as in animal skin, as in to secret oneself away. Hide commands attention like a whispering voice, prompting readers to lean in, to listen for transmissions from ancestors and futurity both.

2022 Windham-Campbell Prize Winner Wong May's Landmark Anthology of Tang Dynasty Poetry Chinese poetry is unique in world literature in that it was written for the best part of 3,000 years by exiles and refugees. In this anthology we meet Du Fu, Li Bai, Wang Wei, and others less familiar to readers in English. Known as the Golden Age of Poetry, the Tang Dynasty was a time when poems were bartered in the marketplace for wine and tea; and posted in temples and taverns, the words of poets unmissable as street art and signage. Monks, courtiers, courtesans, woodsmen, and farmhands were fluent in poetry. More than reading matter, it was a common currency--whether as a necessity or luxury in times of rampant warfare, droughts, famine, plague, man-made and natural disasters. "Chinese history can be read in the words of the poets. It was left for poetry to teach the least & the most," says the translator Wong May, "a literacy of the heart in a barbarous world." True to the spirit of classics, these poems from 1,200 years ago read like they were still being written somewhere in the world--to be read today, and "In dark times we read by the light of letters." "A bird translates silence," the incredibly thorough and utterly unique Afterword begins. In 70 sections that span the millennia, the translator traverses continents and civilizations to retrieve these texts of Tang Poetry for our century, prompted by the voice of another guide, the Rhino, a magical being and original spirit who held a special place in Tang China. A historical study of ancient literature has never felt so alive and timeless. "[Wong May's] quirky, individual voice, her own original spirit in translation and commentary, accompanies us on an unmissable journey through her Tang poetry; we can only be grateful for that queasy moment in a Beijing hotel room when the project began slowly but inexorably to announce itself and gradually take hold."-- Peter Sirr, Dublin Review of Books "[An] extraordinary Afterword, titled 'The Numbered Passages of a Rhinoceros in the China Shop,' is a magnificent, peculiar tour de force that spans nearly a hundred pages, and the book is transformed by its existence [...] entrancing, and entirely sincere."--Daryl Lim Wei Jie, Asian Books Blog "A book very contemporary in its human closeness.... Wong May offers an extensive Afterword on the poetry and its interpreters. No mere translator's note, this capacious essay is historical, critical, comical, personal, structural and mystical by turns, exploring the Tang context of the original poets and the poetry's echoes over the last millennium or so, up through Pound and Mao and Dharma Bums . Wong May hopes 'to return the text to the body of world literature' through her investigations as a translator and critic. Her work deserves this hope, which is better than any reparative aim for poetry, always complicit in and resistant to the politics of its times."-- Harry Josephine Giles, Poetry Book Society Translation Selector Poetry. Anthology. Essays. Translation. Asian & Asian American Studies.

Utterly magnetic, Summer Farah’s debut poetry collection The Hungering Years is a rush of breathless song, voicing confessions so often left unsung amidst personal and collective crisis. “I am afraid of asking the right questions,” Farah admits. But through intimate conversations with fellow Arab-American writer and literary ancestor Etel Adnan, this work finds the courage to ask: What is art? An escape? A reflection? Another unhealthy attachment? Though the answers are elusive, what steps into the light is a collective of friends whose genuine care and companionship anchor these poems through their spiraling search. “I am always looking for Palestine, and yes, I am always looking for love,” these poems croon, holding so much of the world even as they trace an inheritance of displacement. The Hungering Years conjures startling landscapes where we may also experience what it is to be consumed by obsession, echoing with songs by Mitski, iconic scenes from Supernatural, and the sound of the Mediterranean Sea. But as Lena Khalaf Tuffaha writes in her introduction, Farah’s repetitions “are more than echo. They are a vernacular of this unspeakable era,” anchored in “questions that keep us reaching toward life,” and questions toward each other. Building glass structures from her questions, Farah pushes their architecture almost to breaking. Then breaking, the spirit—luminous, actualized—reveals itself through the cracks. Through the landscapes of California, Palestine, and all of the distances in between, there emerges a new sense of devotion to what is possible which might thrust us, together, “off the edge, / in love, towards God.”

TERROR COUNTER is a debut collection of poems which acts against the many languages—interpersonal, legal, literary, rhetorical—constricting the lives and meanings of Palestinians. It moves through sections of varying experimentalism, from an invented visual form (the Gazan Tunnel) to all-caps queer ecstatic, attempting to carve out a space for the negotiation of an alternative subjecthood. The voices in this collection are driven by despair, futility, utopia, vulnerability and the spirit of a collective liberation; they move in search of a lyrical voice which can inhabit both the paranoid preservationist mode that facilitates Palestinian survival, and the imaginative possibilities that might make possible Palestinian life. TERROR COUNTER where and how might a Palestinian subject escape the public consumption of American letters? And, ultimately, how can we continue to love each other amidst the endless terror of the colonial world?

A taut, electrifying debut about a woman forced to confront unsettling truths about herself, her past, and the life she rebuilt following a ruinous affair with her former mentor, from a “lit world phenom” (Harper’s Bazaar).I have the sense that something is being drawn between us. Not drawn as in line but as in arrow pulled back. But I don’t know which of us holds the bow, and which of us faces the arrow. Christine is on tour for her novel, a revenge fantasy based on a real-life relationship gone bad with an older professor ten years prior. Now on the road, Christine is seeking answers—about how to live a good life and what it means to make art—through intimate conversations with strangers, past lovers and friends.But when the antagonist of her novel—her old painting professor—reaches out in a series of sly communiques after years of silence to tell her he's read her book, Christine must reckon with what it means to lose the reins of a narrative she wrote precisely to maintain control. When her professor invites her to join him at his cabin, deep in the woods of Maine, what she encounters threatens to change the very foundations of her life as she's imagined it. A delicately explosive high-wire act about the fictions we construct for ourselves just to survive, Discipline is a terse triumph about art-making and rigor, intimacy and attention, punishment and release.

A disaffected young woman seeking self-estrangement and withdrawal from the world decides to quit her day job as a bookseller to live out, or live in, an experiment: to become a full-time narrator. She moves through sentences, afternoons, a rented apartment, an artist’s studio, a party, the post office with the flowering focus of a realist novel, transposing physical and social life to the space of fiction. As she chronicles the process of becoming a subject in writing, the narrator confronts her fantasy of uninterrupted interiority—and its limits. What is “fiction” and how does one “enter” into it? Composed in the tense of Literature, Lara Mimosa Montes’s The Time of the Novel is a book about detours, psychic swerves, and surprising encounters with the Real as it converges with the written.

The long-awaited sophomore poetry collection by award-winning writer Cathy Linh Che, on familial estrangement, the Vietnam War, and Francis Ford Coppola’s Apocalypse Now.The follow-up to her acclaimed poetry debut Split, Becoming Ghost documents Cathy Linh Che’s parents’ experiences as refugees who escaped the Vietnam War and then were cast as extras in Francis Ford Coppola’s film Apocalypse Now, placing them at the margins of their own story. The poetry collection uses persona, speculation, and the golden shovel form as a means of moving Vietnamese voices from the periphery to the center. The speaker’s disownment raises questions about the challenges of using parents as poetic subjects, telling familial stories to a broader public, and the meaning of forgiveness.

When the scientist Victor Frankenstein attempts to create life in his laboratory, he sets in motion tragic forces beyond his control and faces losing everything he loves. No reader in the grip of Mary Shelley’s novel, with its mythic-minded hero and its highly sympathetic monster who reads Goethe and longs to be at peace with himself, can fail to notice how much more excellent the original is than all the countless adaptations, imitations, and homages which have followed in its ample wake. In her first novel, written at the instigation of Lord Byron and published in 1818 (and revised in 1831), the teenaged Shelley managed to produce English Romanticism’s finest prose fiction. This edition reproduces her original 1818 text.

A disaffected young woman seeking self-estrangement and withdrawal from the world decides to quit her day job as a bookseller to live out, or live in, an experiment: to become a full-time narrator. She moves through sentences, afternoons, a rented apartment, an artist’s studio, a party, the post office with the flowering focus of a realist novel, transposing physical and social life to the space of fiction. As she chronicles the process of becoming a subject in writing, the narrator confronts her fantasy of uninterrupted interiority—and its limits. What is “fiction” and how does one “enter” into it? Composed in the tense of Literature, Lara Mimosa Montes’s The Time of the Novel is a book about detours, psychic swerves, and surprising encounters with the Real as it converges with the written.

The long-awaited sophomore poetry collection by award-winning writer Cathy Linh Che, on familial estrangement, the Vietnam War, and Francis Ford Coppola’s Apocalypse Now.The follow-up to her acclaimed poetry debut Split, Becoming Ghost documents Cathy Linh Che’s parents’ experiences as refugees who escaped the Vietnam War and then were cast as extras in Francis Ford Coppola’s film Apocalypse Now, placing them at the margins of their own story. The poetry collection uses persona, speculation, and the golden shovel form as a means of moving Vietnamese voices from the periphery to the center. The speaker’s disownment raises questions about the challenges of using parents as poetic subjects, telling familial stories to a broader public, and the meaning of forgiveness.