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Sex Augury is a collection of radical, trans poems which practice divination with the symbolism of our changed and changeable world.

Island Man is a story about a father and son who struggle to forge a relationship out of generations of family trauma, secrets, and loss.

Under a Future Sky is a collection of poems that gives voice to the intergenerational impact left by WWII Japanese internment camps.

In her award-winning second book, Anna V. Q. Ross transforms motherhood into a lens, examining narratives of girlhood, migration, trauma, and inheritance. Compassing home and horizon, this tightly woven, image-rich collection plumbs the political within the domestic and traces the routes of the past within everyday life. A bruise becomes a flower and then a flag planted to claim an adopted land; the hull of a Viking ship becomes the fuselage of a plane carrying an immigrating mother home; the daily routines of carpools, math homework, and bedtime stories are interrupted by memories of abuse and reports of school shootings and environmental collapse. But at heart, these are poems of reclamation, reminding us that "e;in those days, we were fast and best, but didn't know it."e; Wary and watchful, never resigned, Flutter, Kick maps the spaces for compassion we carve in a dangerous world.

John Proctor, about to turn seventy, spies a disconsolate young man eyeing him from outside his remote studio window. Invited inside from the bitter cold and fed dinner, the visitor, who calls himself Eli, implies that he is no stranger to the man, having been told by his grandmother that "e;you might take me in."e; Astonished to learn that the woman was his wife who decades earlier had aborted their marriage, which lasted "e;but the length of a wedding candle,"e; the narrator ruefully explains he has since relished living alone by making no lasting connections to anybody or anything. Whereupon Eli confides, "e;She also said you had profaned my mother,"e; the daughter John Proctor never knew he had. Thus commences MacLeish Sq., a tale of awakened remorse and familial longing recounted by an aging recluse when his life is abruptly upturned by the young visitor-captive to a mythical past of his own creation-who intimates that he and the narrator are unlikely strangers. Their unresolved relationship ultimately challenges the reader to question if he and his coincidental guest are one and the same . . . that Eli may be who the narrator has carefully hidden from himself throughout his adult life.

David Mason was born in Washington State, forty-odd degrees north latitude, and now lives on the Australian island of Tasmania, forty-odd degrees south latitude. That Pacific crossing is the work of a lifetime of devotion and change. The rich new poems of Pacific Light explore the implications of the light as well as peace and its opposing forces. What does it mean to be an immigrant and face the ultimate borders of our lives? How can we say the word home and mean it? These questions have obsessed Mason in his major narrative works, The Country I Remember and Ludlow, as well as his lyric and dramatic writing. Pacific Light is a culmination and a deepening of that work, a book of transformations, history and love, endurance and unfathomable beauty, by a poet at the height of his powers.

Human Heartbeat Detected is a collection of essays that explores how we are wonderfully and terrifyingly human. Hitting on themes such as trauma, emotional abuse, marriage, mental illness, and grief, these essays delve into how humans are simultaneously beautiful and terrible to one another. Though regardless of how we might make each other shatter, our hearts continue beatingeven when we might not want them toand we wade through the wreckage of our lives to find ways to survive. With exquisite language and captivating storytelling, the essays in Human Heartbeat Detected face what it means to be human.

Full of warmth, terror, and underhanded humor, If I Were the Ocean, Id Carry You Home, Pete Hsus debut story collection, captures the essence of surviving in a life set adrift. Children and young people navigate a world where the presence of violence and death rear themselves in everyday places: Vegas casinos, birthday parties, church services, and sunny days at the beach. Each story is a meditation on living in a world not made for usthe pervasive fear, the adaptations, the unexpected longings. A gripping and energetic debut, Hsus writing beats with the naked rhythms of an unsettled human heart.

tender gravity charts Marybeth Hollemans quest for relationship to the more-than-human world, navigating her childhood in North Carolina to her life in Alaska, with deep time in remote land and seascapes. Always the focus is on what can be found by attention to the world beyond her own human skin, what can be found there as she negotiates lossthe loss of beloved places, wild beings, her younger brother. do not think, she says to her mother, that i love a bear more than my brother. / think instead that i cannot distinguish / the variations in / the beat of a heart. Inevitably, solace is found in the wild world: step back toward that joy-sap rising, step back / into the only world that is. In a narrative arc of seeking, falling, and finding, we hear in Hollemans exquisitely attentive immersion clear reverberations of Mary Oliver, of Linda Hogan, of Walt Whitman. These poems of grief and celebration pulse in and out, reaching to the familiar moon and out to orphan stars of distant galaxies, then pull close to a small brown seabird and an on-the-knees view of a tiny bog plant.

"Black Was Not a Label is a collection of essays that explores the intersection of faith and racial trauma and the attempt to come to terms with instances of otherness, isolation, racism, erasure, anger, and lost love. A look at life within the "veil" W.E.B. DuBois spoke of in his work, The Souls of Black Folk, this collection is both catharsis and lamentation to God for the self and all who have felt trapped within this (sometimes impenetrable) veil"--

One of the first books to explore the emotional landscape of living with Ehlers-Danlos syndrome from a patient's perspective; a playful story of falling down, getting back up again, and realizing you should have gone to the hospital sooner.

What lingers? What is loss and regeneration after migration?

With arresting images and scintillating internal music, the poems in Trace are at turns ekphrastic, elegiac, mythic, rebellious, interlingual, and whimsical, forming a constellation of experience and its traces which transgress borders at every turn.

In her ninth collection of poems, Ghost Apples, Katharine Coles interrogates and celebrates her relationship with the natural world and the various creatures who inhabit it, and in doing so asks what it means to be human and mortal on a fragile planet.

With unwavering tenderness and ferocity, Bell examines the perils and peculiarities of womanhood, motherhood, and our difficult, shared humanity.

"In A Fire in the Hills, Afaa focuses on one of the central threads in his body of work. His ongoing project of an articulation of self in relation to the external landscape of the community and the world and the writing of spirit through those revelations of sublimation of self gives way here to a material focus. The racial references are explicit as are the complexities of life lived as a Black man born in America in the mid-twentieth century. These are poems emanating from an attempt to follow Daoist philosophy for most of his life. Knowledge of other is in relation to knowledge of self, and self is an illusory continuum, a perspective wherein the poet embodies the transcendent arc of Malcolm X's life as credo"--

Cynthia Hogue’s instead, it is dark comprises a chorale of voices from civilian life during violence then and now.

apocrifa is a nongendered love story told in verse, the journey of a lover and their beloved finding each other, falling apart, and then creating their own way to love together.

H Warren’s (they/them) debut collection, Binded, explores the nonbinary body and the courage it takes to heal and exist in the world today.

In richly lyrical prose, this coming-of-age novel tells the story of aspiring artist Sonya Hudson, who yearns to break free from psychological distress and celebrate her place in the world.

In The Nightlife, Elise Paschen explores the nocturnal world and what happens in that interval between "dorveille" and daybreak. She reveals, through dream lyrics and fractured narratives, the inevitability of unrecognized desire and the drama between the life lived and the life imagined.

A poet hailed as "stunning" reveals a fierce and sensual intelligence in a meditation about farming, reproducing, and what it means to try to forge a relationship with the earth.

2014 OMAHA READS SELECTION2016 ONE BOOK, ONE NEBRASKA WINNERStuart, Nebraska is a long way from the battlefields of Western Europe, but it is not immune to the horrors of the first Great War for Peace. Like all communities, it has lost sons and daughters to the fighting, with many more giving themselves over to the hatred only war can engender.Set in 1918 in the farm country at the heart of America, The Meaning of Names is the story of an ordinary woman trying to raise a family during extraordinary times. Estranged from her parents because she married against their will, confronted with violence and prejudice against her people, and caught up in the midst of the worst plague the world has ever seen, Gerda Vogel, an American of German descent, must find the strength to keep her family safe from the effects of a war that threatens to consume the whole world.

Poet Emily Wall began collecting birth stories after the birth of her third child, Lucy. She realized that women were always quietly sharing their storiesin living rooms with a mug of tea, or whispered at the preschool playground. She saw the intensity with which women listened to each other's stories. They were shared, remembered, retold, but not collected, not treated as the art form they are. Wall began asking for, and collecting birth stories: women sent her emails, handed her their journals, and recorded their own voices. She collected stories from a lesbian couple, a story from an indigenous father who is fighting for his language, and a story from a grandmother. Some of the stories are about difficult and painful births: a woman who had a miscarriage, a woman unable to get pregnant. And some of the stories are beautiful: a birth in water that happened exactly as the mother dreamed it would. Wall has taken these stories and shaped them into poems, and then into this collection, offering the reader a look into the story that women, for centuries, have been quietly sharing with each other.

This anthology brings together one hundred contemporary Indian poets and fiction writers working in English as well as translating from other Indian languages. Located anywhere from Michigan to Mumbai, the sources of their creativity range from the ancient epics to twentieth-century world literature, with themes suggesting a modernist individuality and sense of displacement as well as an ironic, postmodern embracing of multiple disjunctions. The editors present a historical background to the various Englishes apparent in this collection, while also identifying the shared traditions and contexts that hold together their uniquely diverse selection. In aiming at coherence rather than unity, Hasan and Chattarji reveal that the idea of Indianness is as much a means of exploring difference as finding common ground.