The essays in Fernández’s collection weave from the personal to the profound, from the historical to the mystical, from the scientific to the spiritual. The book has one fundamental message: to hold the past is what makes us human.
Brown’s debut novel is a slow-motion tragedy, all the weight of four hundred years coming to bear on one woman and the heartbreaking clarity with which she narrates exactly what that feels like. It is a story of all the ways capitalism, racism, and misogyny inflict violence on the
Ross Gay’s book-length poem suggests that within the horror show of objectified Black pain and the not-finished history of stolen Black bodies, the answer is a community that holds each other with care and beholds in Black lives not just suffering but life, dignity, complexity—and joy.
The contributors to Margot Kahn and Kelly McMasters’s new anthology risk sharing their desires on the page in empowering personal essays that demonstrate astonishing courage, but also craft, making it a collection that reveals the relationship between wanting and body, mind, and heart, but also between wanting and voice.
Price’s poems often play with dreams, with alternate realities. Price writes about these dreams, these alternate realities, by using metaphor, by making lists, in which one person, one object, one thought, lives different realities. Love poems here have the names of the dead. Poems repeatedly turn serious.
With its clipped, direct sentences and its abundance of resonant questions, long and short, Koca’s prose mirrors this narrative doubleness—giving readers an experience that is both irresistibly consumable yet compellingly durable.
With her third collection, out last week, Éireann Lorsung’s ambition is clear: to conduct a historical audit in poetry of the points of history her life touches.
Three recent books by poets Valzhyna Mort, Eduardo C. Corral, and Claudia Rankine examine state violence by using violence’s signatures—repetition and accretion—as tools within the text. In these works, post-Chernobyl Belarus, barren American border landscapes, and the minefields of everyday social interactions are scrutinized, again and again.
Jennifer Savran Kelly’s new novel, centered on a genderqueer bookbinder living in New York in 2003, is a story of intimate discoveries.
Deesha Philyaw’s debut story collection skillfully blends inward reflection with outward mother-daughter battle, the narratives softened within the larger embrace of a nurturing, cross-generational women’s world that transcends particular times and places.