{"title":"Anhinga Press","description":null,"products":[{"product_id":"mercy-spurs-the-bone-1","title":"Mercy Spurs the Bone","description":"\u003cp\u003e\"It is not often that one encounters mastery in a debut book of poems but that is exactly what happens in Chelsea Wagenaar's\u003cem\u003e Mercy Spurs The Bone\u003c\/em\u003e where the poems are crafted into light-filled islands of lyric selfhood small Edens of conceptual originality and rigorously precise language. Writing in an elliptical style Wagenaar achieves that articulation of being that mysterious symbiosis of self and world which is at the very heart of poetry. A double gift then: this brilliant beginning and more than sufficient promise of the wonders that are sure to follow.\"--\u003cstrong\u003eB.H. Fairchild\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eChelsea Wagenaar\u003c\/strong\u003e received her B.A. from the University of Virginia and is currently a doctoral fellow at the University of North Texas. She lives in Denton Texas with her husband, fellow poet Mark Wagenaar.\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321589211286,"sku":"9781934695418","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_c6ea5de7-b3d3-44a4-bfd3-32dc97de03c5.jpg?v=1642158042"},{"product_id":"blood-vinyls-1","title":"Blood Vinyls","description":"\u003cp\u003eThe organization of the \u003cem\u003eBlood Vinyls\u003c\/em\u003e as tracks, with each track as a theme, illuminates these soulful, gorgeous, intelligently-crafted poems capturing the black South and womanhood so intimately and with such knowing - an edgy discography of Florida and the contentions of gender and race in the South. Franklin understands like Zora Neale Hurston how to pen intimate narratives that reveal a distinctive aspect of southern history and its customs stemming from the legacies of slavery and beyond.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eYolanda J. Franklin\u003c\/strong\u003e is a Cave Canem and Callaloo Fellow, a recipient of a 2016-2017 McKnight Dissertation Fellowship, and a Kingsbury writing award. Franklin is a Visiting Assistant Professor at Florida Agricultural  Mechanical University. Her poems appear in the current issue or are forthcoming in the following journals: \u003cem\u003eHayden's Ferry Review, Southern Humanities Review \u003c\/em\u003e and the \u003cem\u003eApalachee Review. \u003c\/em\u003eHer poetry also appears in the recent anthology \"It Was Written: Poetry Inspired by Hip-Hop\" and is a two-time recipient of a J.M. Shaw Academy of American Poets Award. Franklin is a third generation Floridian born in the state's capital - Tallahassee. She loves dancing to old school hip-hop, baking, food tasting and can be found at her favorite coffee shop, Black Dog Café in Railroad Square enjoying a drink the baristas named after her.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"What an incredible collection of poetry. I love the organization of the book as tracks and each track has a theme. These are such soulful, gorgeous poems. Intelligently crafted. Franklin captures the black South and womanhood so intimately with such knowing. There is not a weak poem in the book which is quite a feat. Standout poems include White Room Syndrome, Black Writer, Southern Girl Hymn, Stiletto Wedged Drag Queen Bingo: Sarasota Florida Vindictive Grace and Southern Redactions, but again these are the very best among a whole book of excellent poetry. A must-must-must read.\" - \u003cstrong\u003eRoxane Gay \u003c\/strong\u003e(https:\/\/www.goodreads.com\/book\/show\/39075833-blood-vinyls\u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e\"Yolanda J. Franklin writes poems marked by vitality and wonder, urgency and care. Like the best kind of album, \u003cem\u003eBlood Vinyls\u003c\/em\u003e demonstrates Franklin's formal and vocal range. Even when she writes into hurt and despair, the expansiveness I find here fills me with joy. I am grateful for this book.\" - \u003cstrong\u003eCamille T. Dungy \u003c\/strong\u003e\u003cem\u003e Trophic Cascade from back cover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e\"In \u003cem\u003eBlood Vinyls\u003c\/em\u003e Southern vernacular gives Yolanda Franklin what poetry must give to the ear. This book is all sass and riot, which is to say that Franklin is unashamed by the fact of sorrow - an emotion that reminds us just how vulnerable we really are. This book calls and coos and confesses or as Franklin herself says 'know i know i know you still believe that i deserve this soundtrack i live but didn't i didn't i make you the most beautiful consequences of love?'\"- \u003cstrong\u003eJericho Brown \u003c\/strong\u003e \u003cem\u003eThe New Testament\u003c\/em\u003e \u003cem\u003efrom back cover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e\"Reader welcome to Florida -'Jim Crow's stiletto ' the land that time time and again forgets - where memory's a needle in a groove: that long heel in the Atlantic's swirl of Middle Passage salt and hurricane slap. Yolanda Franklin is homegirl to the Florida of my mind. She understands as Zora did its estranging rhythms and seasons and renders them like emergent systems. Here is how we imagine heaven: a porch where Janie Crawford and Phoebe Watson sit sipping sweet tea in dialogue about Katrina. From 'fish grease' to 'empty civility's bales\/of hey' the tracks that form this debut collection hold vibrations of Florida life etched into the lyric and amplified. 'These are not lies. This is the truth.' I hear these poems. I feel them.\" - \u003cstrong\u003eLyrae Van Clief-Stefanon \u003c\/strong\u003e\u003cem\u003eOpen Interval\u003c\/em\u003e \u003cem\u003efrom back cover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e\"'Black people love hip-hop!' says Yolanda Franklin in the first line of the first poem in this excitable over-caffeinated book. \u003cem\u003eBlood Vinyls\u003c\/em\u003e is jam-packed with 'grown-up shit' as another poem says and grown-up people (Tina Turner, Big Mama Thornton, Toni Morrison) as well as people who never got a chance to grow up (Trayvon Martin, Michael Brown). Roller-coastering from high to low, love to hate, silly to serious and back again, \u003cem\u003eBlood Vinyls \u003c\/em\u003espeaks with an authority seldom heard in poetry's low-key non-fat chilled-out too-laid-back-for-its-own-good atmosphere. Too many hyphens? Get used to it reader because this poet demolishes all the categories and makes new and better ones from the fragments of the old. You'll love Yolanda Franklin guaranteed.\" - \u003cstrong\u003eDavid Kirby \u003c\/strong\u003e\u003cem\u003e A Wilderness of Monkeys\u003c\/em\u003e \u003cem\u003efrom back cover\u003c\/em\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321617621142,"sku":"9781934695579","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_7b5b1aa4-3dc9-4aaa-9cb9-89915a265396.jpg?v=1642159513"},{"product_id":"arsonist-1","title":"Arsonist","description":"\u003cp class=\"BasicParagraph\"\u003eWinner of the 2017 Anhinga Robert Dana Prize selected by Eduardo C. Corral \u003cem\u003eArsonist\u003c\/em\u003e is a shape-shifter of a book a book that leaves the reader with an existential \"shivering\" yet it is on fire. Loaded with lethal chemicals like let us say desire abandonment separation and industrialized lives without homelands burning in their brutal severance \u003cem\u003eArsonist \u003c\/em\u003eis a spilling and boiling caldron of zig-zag figures of wild colors split from their root \"a son's desperate attempt to \/ clear the air\" - of things that long to congeal yet they smash into blanks smoke and the questions of forgiveness and birth. Here a relentless piercing clarity a precious text without trappings an examination of loss and love. I salute Zihuatanejo for this blistering beauty among the ashes. -\u003cstrong\u003eJuan Felipe Herrera \u003c\/strong\u003e Poet Laureate of the United States 2015-2017\u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e \u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e\u003cstrong\u003e\u003cspan class=\"author notFaded\" data-width=\"\" style=\"color: #000000;\" data-mce-fragment=\"1\"\u003e\u003ca class=\"a-link-normal\" href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\"\u003eJoaquín Zihuatanejo\u003c\/a\u003e \u003c\/span\u003e\u003c\/strong\u003ereceived his MFA in creative writing with a concentration in poetry from the Institute of American Indian Arts in Santa Fe New Mexico. His work has been published in \u003cem\u003ePrairie Schooner Yellow Medicine Review Sonora Review Southwestern American Literature \u003c\/em\u003e and \u003cem\u003eHuizache\u003c\/em\u003e among other journals and anthologies. His poetry has been featured on HBO NBC and on NPR in Historias and The National Teacher's Initiative. \u003cspan class=\"author notFaded\" data-width=\"\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003ca class=\"a-link-normal\" href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" data-mce-style=\"color: #000000;\"\u003eJoaquín\u003c\/a\u003e \u003c\/span\u003ehas two passions in his life his wife A\u003cspan class=\"author notFaded\" data-width=\"\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003ca class=\"a-link-normal\" href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" data-mce-style=\"color: #000000;\"\u003eí\u003c\/a\u003e\u003c\/span\u003eacuteda and poetry always in that order. \u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e \u003c\/p\u003e\n\u003cp\u003e\"\u003cspan class=\"author notFaded\" data-width=\"\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003ca class=\"a-link-normal\" href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" data-mce-style=\"color: #000000;\"\u003eJoaquín Zihuatanejo\u003c\/a\u003e\u003c\/span\u003e brings us close right to him into the very thing one is made of: blood. Father. Mother. And it is not simple. He is fearless in his questions and the burning searing death of letting go all the more courageous in recovering the bright language left from that fire. What relief as Zihuatanejo faces absence head on embraces then transmutes it. These poems glow in moving forms and elegant punctuation yes even the periods serve as marks of light. He writes 'my dead father \/ is not in the dirt \/ nor is he in the poems- \/ he is in me.' And I can feel-because I am shown-how absence loss conflict and contradictions are not to be feared but with work with line and word become the very substance of self a fiery wholeness. Beautiful.\" -Layli Long Soldier Author of \u003cem\u003eWHEREAS\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan class=\"author notFaded\" data-width=\"\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003ca class=\"a-link-normal\" href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.amazon.com\/s\/ref=dp_byline_sr_book_1?ie=UTF8\u0026amp;field-author=Joaqu%C3%ADn+Zihuatanejo\u0026amp;text=Joaqu%C3%ADn+Zihuatanejo\u0026amp;sort=relevancerank\u0026amp;search-alias=books\" data-mce-style=\"color: #000000;\"\u003eJoaquín Zihuatanejo\u003c\/a\u003e\u003c\/span\u003e is a brilliant poet. His testimonials and songs and explorations are multilingual structurally adventurous. The wide range of forms and dictions makes visible his ravenous curiosity and intellect. His language rippling with the loss of a father and racial and cultural tensions resists one-dimensional answers. His nouns and verbs wonder croon weep question and roar. The deep attention to language and to the shaping of language infuses the work with a riveting self-awareness of the self-in this case a Mexican American man unafraid to remember to love. Beautifully crafted and richly imagined Arsonist is a remarkable debut.\" -Eduardo C. Corral Author of \u003cem\u003eSlow Lightning\u003c\/em\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321621913750,"sku":"9781934695593","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_1ce37b19-08a1-4bac-ab5b-0b520285e60b.jpg?v=1642159780"},{"product_id":"shimmer-1","title":"Shimmer","description":"\u003cp\u003eA book of inquiry, Mark Irwin’s \u003cem\u003eShimmer\u003c\/em\u003e queries how the worlds of poverty, terrorism, ecology, species extinction, mortality and race interface and affect one another through electronic reproduction and transmission. Not as spectacles but as events that often seem too familiar, many are featured on YouTube: a horse still alive, dragged to be slaughtered; a homeless mother with an infant; a terrorist disguising a bomb, a Vietnam veteran attempting to commit suicide, a mother, unable to speak, who communicates by drawing different colors.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eShimmer\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e explores those places where metropolis and the natural world collide, where virtual technology attempts to convey the spirit. The incursion of electronic communication throughout society as a form of human language, has radically distorted and impacted notions of form and space in contemporary poetry, just as it has impacted the idea of what it means to be human.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003eMark Irwin\u003c\/strong\u003e is the author of ten collections of poetry: \u003cem\u003eShimmer\u003c\/em\u003e (2020), \u003cem\u003eA Passion According to Green \u003c\/em\u003e(2017), \u003cem\u003eAmerican Urn: Selected Poems \u003c\/em\u003e(1987-2014), \u003cem\u003eLarge White House Speaking\u003c\/em\u003e (2013), \u003cem\u003eTall If\u003c\/em\u003e (2008), \u003cem\u003eBright Hunger\u003c\/em\u003e (2004), \u003cem\u003eWhite City\u003c\/em\u003e (2000),\u003cem\u003e Quick, Now, Always \u003c\/em\u003e(1996), and \u003cem\u003eAgainst the Meanwhile \u003c\/em\u003e(1988). He has translated three volumes of poetry. His collection of essays is\u003c\/span\u003e\u003cspan\u003e \u003cem\u003eMonster: Originality in Contemporary American Poetry\u003c\/em\u003e.\u003c\/span\u003e\u003cspan\u003e His poetry and essays have appeared in many literary magazines:\u003cem\u003e The American Poetry Review, The Atlantic Monthly, Georgia Review, The Kenyon Review, Paris Review, Poetry, The Nation, New England Review, The New Republic\u003c\/em\u003e, \u003cem\u003eThe New York Times\u003c\/em\u003e, \u003cem\u003eThe Southern Review\u003c\/em\u003e, and \u003cem\u003eTin House\u003c\/em\u003e. Recognition for his work includes The Nation\/Discovery Award, four Pushcart Prizes, two Colorado Book Awards, James Wright Poetry Award, Philip Levine Prize for Poetry, and fellowships from the NEA, Fulbright, Lilly, and Wurlitzer Foundations. \u003c\/span\u003e\u003cspan\u003eHis poetry has been translated into several languages.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Body\"\u003e \u003c\/p\u003e\n\u003cp class=\"Body\"\u003e\u003cspan\u003e\"Reading a poem by Mark Irwin is like watching time-lapse photography of an iris coming into bloom: interesting and beautiful things unfold very quickly. His imagery is as varied as the twin towers, the “digital haze” on our device screens, or sunlight passing through a jar of marmalade. Many of the poems have the urgency of incantations to summon what has been lost. Through all of his work runs a quiet, restless probing, a shimmer, where 'the seconds fill us like a lake with rain.'\" -- \u003c\/span\u003eC. G. Hanzlicek,  Judge, \u003cem\u003e2018 Philip Levine Prize for Poetry\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321672736918,"sku":"9781934695630","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_3c39ca29-e2b8-4aa2-ad2a-822a6d1d4880.jpg?v=1642161682"},{"product_id":"life-cycle-of-a-bear","title":"Life Cycle of a Bear","description":"\u003cp\u003e\u003cspan\u003eSteven Kleinman’s \u003cem\u003eLife Cycle of a Bear, \u003c\/em\u003ewinner of the 2019 Philip Levine Poetry Prize, selected by C.G. Hanzlicek, is an antidote to a moment defined by fatalism and fake news. The effort to imagine the specific, to show truth and prove it no matter how violent, dominates these poems: a man can be a bear, a death can happen again and again, a dead friend can be every villain while also being remembered as the source of everything good in the world. Kleinman’s poems cleave unapologetically to metaphor not in an effort to obfuscate the world, but in order to transform it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSteven Kleinman\u003c\/strong\u003e is the winner of the 2019 Philip Levine Poetry Prize. Homeschooled, he grew up in suburban Philadelphia, where his parents ran a wood shop – first in a rented garage, and eventually in a large warehouse. His poems navigate the edge of the American Dream, the violence of work, where the lies and hopes are the thickest. His work has appeared in\u003cem\u003e Best American Poetry 2020,\u003c\/em\u003e \u003cem\u003eThe American Poetry Review, The Iowa Review, The Gettysburg Review, Beloit Poetry Journal\u003c\/em\u003e, and many other fine journals. A graduate of the University of Maryland with an MFA in poetry, he is the director of Creative Writing at the University of the Arts in Philadelphia, and a contributing editor to \u003cem\u003ethe American Poetry Review.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"I was instantly haunted by the rhythms in Steven Kleinman’s poems. Through parallel phrasing, he builds a momentum that seems partly song and partly incantation.  Incantations can be a dangerous thing, and he does indeed take us to some dark places, but he also has a playful mind that can lead to hilarity (see 'The Last Supper'). There are surreal touches in many of the poems, but those touches never seem arty or gratuitous but rather spring from the urgency of what he is witnessing, and witnessing is what the book is about. As Kleinman says, “It matters \/ what I could actually see and why.”  — C. G. Hanzlicek, \u003cem\u003eJudge, Philip Levine Prize for Poetry\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The deep image is alive and well in the hands of Steven Kleinman, who, in \u003cem\u003eLife Cycle of a Bear,\u003c\/em\u003e has managed to talk to us about what’s on our minds once we turn off the news of the day. The biggest surprise is the 'Bear' poem sequence, which is one of the finest I’ve read in the past ten years. Once you read it, you’ll do like I did: you’ll flip back through the pages to read it again, realizing, Yeah, “what you wanted, what you want, is freedom,” which Kleinman offers in this inspiring debut.\"\u003c\/span\u003e — A. Van Jordan\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"In Steven Kleinman’s \u003cem\u003eLife Cycle of a Bear, \u003c\/em\u003emen are bears, wolves, starfish, and clowns, but they are also fathers, addicts, veterans, failures, and friends. This is not another book about how bad men have it. There are no heroes here. Instead, it is a book of vast imagination and steadfast intimacy, of compassion and clear-eyed dissent, about one locality and thus our world. Kleinman’s reckoning with the mythologies and communities born of the violence of men is as tenderly wrought as it is tenacious and true.\"\u003c\/span\u003e — Jennifer Chang\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321698164886,"sku":"9781934695685","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_6b50416f-54aa-47c6-9b62-0e5eebe64ff2.jpg?v=1642162791"},{"product_id":"theatrix-poetry-plays","title":"Theatrix: Poetry Plays","description":"\u003cp\u003e\u003cspan\u003eLet's hear it for play! We've already got COVID and malfeasance in politics and police brutality. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn Terese Svoboda's eighth book of poetry, \u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"NL\"\u003eTheatrix: Poetry Plays, \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eShakespeare, Beckett, Hair, absurdist theater, the usher (the Fall of the House of) and theater made behind bedsheets ghost through this book to explode our notion of subject and the fourth wall. Though the book also includes a Title IX report, the torture of a South Sudanese governor, Chernobyl, the murder of a NYC prostitute, and god-knows-what those schipperkes were doing for the French resistance – everywhere the poetic line claims its place as a stage for the world. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven the title puns on \u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e“\u003c\/span\u003e\u003cspan\u003etricks” as \u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e“\u003c\/span\u003e\u003cspan\u003epoetry plays” at the genre of drama, and the suffix \u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e“\u003c\/span\u003e\u003cspan lang=\"DA\"\u003etrix\u003c\/span\u003e\u003cspan\u003e” does the job of turning the masculine POV into the feminine (e.g. aviator, aviatrix). Elements of dramatic writing like interruptions or asides found inside brackets and character names cast in majuscule punctuate, but do not dominate the book as the poetry slides in and through drama. Linked by an absurdist tone that combines the surreal, the political, and broad slapstick, often in one fell swoop, the poems in \u003c\/span\u003e\u003cem\u003e\u003cspan lang=\"NL\"\u003eTheatrix: Poetry Plays \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003edon't want to be \u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e“\u003c\/span\u003e\u003cspan\u003eput on,” they want to play in the reader's head, the mind being the greatest stage of all.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA Guggenheim fellow,\u003cstrong\u003e Terese Svoboda\u003c\/strong\u003e is the author of 19 books of poetry, fiction, memoir, biography, and translation.\u003cem\u003e Anything That Burns You: A Portrait of Lola Ridge, Radical Poet\u003c\/em\u003e appeared in paper in 2018, and \u003cem\u003eGreat American Desert,\u003c\/em\u003e a book of stories, in 2019. Doubleback Books reprinted \u003cem\u003eTreason,\u003c\/em\u003e her fourth book of poetry, in 2020. She has also been awarded the Bobst Prize in fiction, the Iowa Prize for poetry, an NEH grant for translation, the Graywolf Nonfiction Prize, a Jerome Foundation prize for video, the O. Henry Award for the short story, and a Pushcart Prize for the essay. She is a three-time winner of a New York Foundation for the Arts fellowship, and has had Headlands, James Merrill, Hawthornden, Yaddo, McDowell, and Bellagio residencies. Her opera \u003cem\u003eWET\u003c\/em\u003e premiered at L.A.’s Disney Hall in 2005. \u003c\/span\u003e\u003cspan\u003eA native of Nebraska, she now divides her time between a houseboat in Victoria, BC and NYC with her husband and a moth-eared papillion named Fred.\u003c\/span\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321698951318,"sku":"9781934695692","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_46cfac6f-2dde-43e6-b0f5-e68b0ec8843b.jpg?v=1642162872"},{"product_id":"index-for-september-11th","title":"Index for September 11th","description":"\u003cp\u003e\u003cem\u003e\u003cspan\u003eIndex for September 11th\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was born out of a tumultuous adolescence spent in a rapidly changing world. It describes the transition from girl to woman that occurred between 2001 and 2011. During this decade, the author moved from Michigan to New York City, survived several bouts of major depression, graduated from college, and learned how to navigate the world as an adult. The index format of the text was inspired by a poem devised by the writer Ander Monson. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor Howell, the index format felt well-suited to the subject matter — it allowed her to categorize and classify disparate events, emotions, and encounters that occurred over an extended period of time. She comes to terms with her heritage, her family, and her own unending (and at times agonizing) search for personal and professional fulfillment. Major themes include the resilience of the female body, mental health, and the terrorist attacks of September 11\u003csup\u003eth\u003c\/sup\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eCaronae Howell\u003c\/strong\u003e is a physician and writer living and working in Arizona with her husband and dog. She studied history and human rights at Columbia University and received her medical doctorate from Stony Brook University School of Medicine. Her poetry and essays have been published in a variety of local and national anthologies and \u003cem\u003eThe New York Times\u003c\/em\u003e. She is currently training to become a vascular surgeon. She is particularly interested in the intersections between poetry, surgery, and the human body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"C\u003cspan\u003earonae Howell’s Index for September 11th teaches us how to keep steady in a world full of simultaneous wonder and violence. A switchboard of synaptical loss, this is a book which accumulates both personal and collective memory, a glimpse into an archive of survival.\"\u003c\/span\u003e\u003cspan\u003e — Ching-In Chen, 2019 Judge, Anhinga-Robert Dana Prize for Poetry\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"BasicParagraph\"\u003e\u003cspan\u003e\"In this deeply innovative debut, Howell explores a truth often lost around September 11th: it was experienced collectively and — for each person — alone. She writes, ‘You don’t go telling me how to throb \/ You don’t go telling me \/ where I was on the morning or \/ what I felt or \/ how I came to the skeleton all unbuttoned, \/ undone, naked, queasy: the last girl to mourn.’ And then, ‘An entire adolescence exploded in a building,’ a premise on which the book follows through. This collection transcends time and plunges into narratives of loneliness, desire, identity, resilience, and family lore. Howell’s eye for the real story is all encompassing, and her command of language is awe inspiring.\" — Jon Sands, author of\u003cem\u003e It’s Not Magic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cem\u003eIndex for September 11th\u003c\/em\u003e is full of unexpected, piercing lines that evoke recognition and awe in a cartography of disaster, desire, and coming of age. Howell brilliantly cleaves and alchemizes to make sense of the profound wreckage of September 11th in this love song turned spell turned litany. Unafraid to name, confess, and yearn, Howell’s book brings loss close to our faces in order to evoke the love and bravery of daring to live through disaster. \" \u003c\/span\u003e— Arhm Choi Wild\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321702949014,"sku":"9781934695708","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_fb87ea45-7309-46ee-b110-f03068f54567.jpg?v=1642162971"},{"product_id":"tragic-city","title":"Tragic City","description":"\u003cp\u003e\u003cspan\u003eHeard's sojourn in Tulsa and the history of the Tulsa Race Massacre comes to a head in these poems that investigate the incident's resounding trauma with lyric and historic precision. The absence of reckoning a century after the 1921 Tulsa Race Massacre is soldered together by a series of poems based on Heard's time living on the fringes of the city's art district and what was once Greenwood, Tulsa's thriving Black neighborhood. Heard blends survivor testimonies, myths, and present intelligence with his own lived experience and a farrago of forms to feel his way to a more intuitive truth of what's isn't documented.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eClemonce Heard\u003c\/strong\u003e was born and raised in Uptown and Algiers New Orleans. At the beginning of his senior year of high school, Hurricane Katrina struck New Orleans and his family evacuated to Natchitoches, Louisiana, where he stayed to attend Northwestern State University. A graphic communications major and culinary arts minor, Heard spent most of his undergrad working as a cook at several local restaurants. In 2010, Heard, along with Brandi (White) Gonzales, cofounded the presently active, campus organization, Brainy Acts Poetry Society. After graduating, Heard spent nearly three years working for Apple Inc. before attending Oklahoma State University, where he received his MFA in creative writing. In 2018, Heard was awarded a Tulsa Artist Fellowship. He left the fellowship program early to accept a fellowship from the University of Wisconsin Institute for Creative Writing. Currently, Heard is an artist-in-residence at Sala Diaz in San Antonio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"I have never in my life read a poet, a writer, an American artist so beautifully manipulate futurist proclamations and the minutiae of memory. This book is elite art born of Clemonce Heard’s stank genius. \u003cem\u003eTragic City\u003c\/em\u003e is here to break the unbroken and possibly shift how place and language can work. Stunning.\"  —\u003cstrong\u003e Kiese Laymon\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Though the nostalgic path that is memory often catalyzes a poets’ lyric search for both language and measured rhythms which define their immediate presence in the world, longing alone will not guarantee an end to the oblivion. One must attempt, as Clemonce Heard does here in \u003cem\u003eTragic City\u003c\/em\u003e, to confront the intractable reality that smashes illusions of any civilized code; one must “[groove] with the upright history \/ of a people.” Heard provides many occasions for readers to meditate on the Tulsa Race Massacre — not as an exercise in “wokeness,” but as a means of launching grace. These poems model benevolence and presence, and I for one will return again and again to their virtues and music.\u003cstrong\u003e\"  — Major Jackson, Judge, Anhinga-Robert Dana Prize for Poetry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Clemonce Heard’s penetrative and muscular debut probes the blatant brutality perpetrated by white men from the towering perch of their self-imposed birthright — with unerring focus on the “tragic city” of Tulsa, Oklahoma, where, in 1921, that mercenary privilege resulted in the utter decimation of the flourishing black community of Greenwood, and the deaths of hundreds of its citizens. Since the massacre is still unknown to so many, Heard urgently transports the reader into the moments of the tragedy, reviving the people and places that gave Greenwood its pulse — then moves into the disquieting present day, where the circumstances that led to that titanic loss still exist, and still resound.\"  \u003c\/span\u003e— \u003cstrong\u003ePatricia Smith, author of \u003cem\u003eIncendiary Art\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321717858454,"sku":"9781934695715","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_83c89c57-696b-4f4f-ae01-f98cc0789e57.jpg?v=1642163644"},{"product_id":"she-speaks-tongues-poems-asemic-writing","title":"She Speaks Tongues: poems || asemic writing","description":"\u003cp\u003e\u003cem\u003e\u003cspan\u003eShe Speaks Tongues\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is a collection of the rising voices of five women, from silence (her image,) to gesture, to word. Each section starts with a woman's portrait and follows with her unique rising voice in asemic writing, and to word through poem. Asemic writing inhabits an essential space of expression, depicting what is not yet fully denotational. It embraces the mystery between silence, what is yet to be spoken, and the semantics of known language. What is represented are the feelings or ideas that the word, or markings, suggests, to the speaker, and to the viewer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eKarla Van Vliet\u003c\/strong\u003e is the author of \u003cem\u003eFrom the Book of Remembrance\u003c\/em\u003e and \u003cem\u003eThe River From My Mouth\u003c\/em\u003e, collections of poetry and paintings, \u003cem\u003eFluency: A Collection of Asemic Writings\u003c\/em\u003e, published by Shanti Arts, and a poem length chapbook, \u003cem\u003eFragments: From the Lost Book of the Bird Spirit\u003c\/em\u003e, published by Folded Word.\/\/\/Her poems have appeared in \u003cem\u003eAcumen, Poet Lore, The Tishman Review, Green Mountains Review, Crannog Magazine\u003c\/em\u003e, and many others. She is an Edna St. Vincent Millay Poetry Prize finalist, and a three-time \u003cem\u003ePushcart\u003c\/em\u003e and \u003cem\u003eBest of the Net nominee.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHer paintings have been featured in\u003cem\u003eWomen Asemic Writers, UTSANGA.IT, Still Point Art Quarterly, Stone Voices Magazine, Champlain's Lake Rediscovered\u003c\/em\u003e, and \u003cem\u003eGate Posts with No Gate: The Leg Paint Project.\u003c\/em\u003e She is a member of WAAVe Global (Women Asemic Artists \u0026amp; Visual Poets) and Asemic Writing: The New Post-Literate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eShe is a co-founder and editor of \u003cem\u003edeLuge Journal\u003c\/em\u003e, an Integrative Dreamwork analyst, artist, and administrator of the New England Young Writers' Conference at Bread Loaf, Middlebury College. She lives in Vermont, USA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cem\u003eShe Speaks Tongues\u003c\/em\u003e hints of new language—not one of primal screams but whispers. It begs us, for this one moment, to simply be — speechless…aware.\" - \u003cstrong\u003eTaylor Collins\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321722871958,"sku":"9781934695722","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_36b9bb45-4b9e-404b-8dab-af3855017786.jpg?v=1642163802"},{"product_id":"a-sleep-that-is-not-our-sleep","title":"A Sleep That Is Not Our Sleep","description":"\u003cp\u003e\u003cspan\u003eWinner of the 2020 Philip Levine Prize for Poetry, Belli hands the stage to a \u003cem\u003eluminous constancy\u003c\/em\u003e in this deftly lyrical and incisive collection. Structured around a central poem, \"Billet Doux,\" which is a love letter to the bones—and their persistence when faced with the solemnity of ruin—these magnetic poems are illuminations, repositories for strong-willed, existential deliberations, and stoic reckonings of the ravaged, lone self and its forsaken \u003cem\u003ethou. A Sleep That Is Not Our Sleep\u003c\/em\u003e cuts to the bone with its sensual turns and its linguistic ingenuity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne introductory poem and four parts compose this volume, whose spirit is one of melancholic yet decisive persistence uttered in spare, spellbinding truths. A first section reckons with failed intimacy in terse and articulate lines that pace the small universes that are each one of Belli's poems. In a letter to the bones, which constitutes the temperamental and winged second section, the bones are dear companions that cannot be left, for, in their absence, the speaker asks, what \"would be left to break?\" The third section is inhabited by a shrewd stoicism that works to preserve the speaker from certain terror and keep a loosening grip on reality at bay. Lucidly, the speaker finds a sometimes cutting strength: \"I am… more of a household chemical \/ flammable \/ and if misused \/ will stain the skin.\" In the final section, an imaginary constitutes itself through the light of the surreal and a sultry lyricism. Although \"an ancient nakedness is being held against its will\" and \"to live is to learn to be barely there,\" the speaker hopefully begins \"considering the dahlias.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBelli's vision is tender and daring, at times indignant, but always intending to grasp with authenticity our transactions with intimacy through a succinct and pointed verse, whether the self lies face down in the grime or whether it is aimed at the sun.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eE.C. Belli\u003c\/strong\u003e is the author of \u003cem\u003eObjects of Hunger\u003c\/em\u003e (SIU Press, 2019). She is the translator of \u003cem\u003eI, Little Asylum\u003c\/em\u003e by Emmanuelle Guattari (Semiotext(e), 2014) and \u003cem\u003eThe Nothing Bird: Selected Poems\u003c\/em\u003e by Pierre Peuchmaurd (Oberlin College Press, 2013). Her manuscript, \u003cem\u003eA Sleep That is Not Our Sleep\u003c\/em\u003e, won the 2020 Philip Levine Prize for Poetry.The recipient of a 2010 Paul \u0026amp; Daisy Soros Fellowship for New Americans, her work in French has appeared in Europe: \u003cem\u003erevue littéraire mensuelle\u003c\/em\u003e and \u003cem\u003ePO\u0026amp;SIE\u003c\/em\u003e (France), among others. She is also the author of the chapbook, \u003cstrong\u003eplein jeu.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41321723592854,"sku":"9781934695739","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_4d752c03-7e98-4849-9da4-f926a55caa91.jpg?v=1642163887"},{"product_id":"buried-a-place","title":"Buried [A Place]","description":"\u003cp\u003e\u003cem\u003eBuried [A Place]\u003c\/em\u003e tracks a woman's journey, through the shadowy realm of story, relationship, and trauma, in a haunting and challenging re-imagining of Dante's \u003cem\u003eInferno.\u003c\/em\u003e The poet's odyssey resurrects the self and the feminine from the crushing weight of cultural and personal history, while raising the question of self in relation and correlation to other.\u003c\/p\u003e\n\u003cp\u003eBeginning with, \"I was lost. You must understand, \u003cem\u003eutterly\u003c\/em\u003e,\" we are plunged into a world where stories and language clash dream-like. The narrator faces these clashes on her journey, but also encounters conflicts with the entities who appear to guide her. What to do when one is lost? Who do we follow or call upon for help when fighting internal monsters? External ones? When does a teacher, a mentor, a brother, a father, no matter how seemingly beloved, become something else? \"Which are you?\" the narrator asks over and over - even of herself.\u003c\/p\u003e\n\u003cp\u003eIn near-primal bracketed language, in external dialogues and internal asides, the poems of \u003cem\u003eBuried [A Place]\u003c\/em\u003e track an odyssey that curves, circles, and crashes in on itself, often leaving us breathless. This is one woman's revelation of the self, of the feminine, buried underneath the crushing weight of cultural and personal history. Along the way, \u003cem\u003eBuried [A Place]\u003c\/em\u003e, reclaims not just voice, but the body, not just knowledge, but raw knowing.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSue Scavo\u003c\/b\u003e, born in Cincinnati, Ohio [in the middle], has lived most of her life at one edge [California] or another [New England]. Her work has been published in numerous publications including \u003cem\u003ePoet Lore, Blue Heron Review, Aster(ix), Burning House Press, Literary Mama, Panolopy\u003c\/em\u003e and others; and in anthologies, including \u003cem\u003eWhat Have You Lost?\u003c\/em\u003e ed. Naomi Shihab Nye (Harper Collins). She received her MFA from New England College. She was awarded a writer's residency at the Vermont Studio Center in Johnson, VT [and then stayed as a staff artist for several years]. Sue is co-editor\/co-founder of \u003cem\u003edeLuge Literary and Arts Journal\u003c\/em\u003e and is a Dreamwork Teacher\/Practitioner who has taught\/presented internationally at conferences\/venues such as Esalen Institute, Kripalu Center, Breitenbush Retreat Center, The Rowe Center, Hollyhock and the International Association for the Study of Dreams.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"IN POEMS nearly pre-language and dream-born, in language bracketed and shifting, ruminant, Sue Scavo's poetic sequence, BURIED [A PLACE], excavates a woman's soul, 'not journey girl, not worthy girl,' from the patriarchal firmament. Questing, trusting, she follows a teacher's guidance but finds him 'greedy in [his] story taking, hoarder of what defines.' Here is myth re-making, the act of hunting for new language inside the body — 'the place of past, the place of never-changing, the place of gnarl.' These poems, talking back to Dante's Inferno and history itself, take us down the long path of coming into knowledge, from 'what [I thought] was my memory' toward 'our own words as lantern.' If 'once there was a girl who filled her breath with salt water \/ and remembered song,' drowning in order to sing, here, instead, is the story of being told, 'Watch your step,' and refusing. 'I stepped and stepped.' To dwell in Sue Scavo's imagination is to suspend time and what we have come to know.\" - \u003cb\u003eKerrin McCadden\u003c\/b\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":41681186979990,"sku":"9781934695746","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/img_proxy_364db72f-f4bf-45f3-a0fd-1d8de9ceaa23.jpg?v=1650377960"},{"product_id":"teaching-the-baby-to-say-i-love-you","title":"Teaching the Baby to Say I Love You","description":"\u003cp\u003eIn \u003cem\u003eTeaching the Baby to Say I Love You\u003c\/em\u003e, Craig Beaven takes the reader on a heartfelt journey through the current American political landscape. In the first sequence, within the threat of classroom gun violence, he explores love, race, language, and terror. A second sequence makes those fears personal and individual, and the third traces these topics into a deep, historical roadtrip through the American South. He questions our ideas of terror in a world where dread and violence are perpetrated by the government, police officers, students, and neighbors hiding behind social media aliases. Throughout, Beaven's poems engage. \u003cem\u003eTeaching the Baby to Say I Love You\u003c\/em\u003e examines our present, often chaotic world, with a powerful weapon — gripping, contemplative, and complex language.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCraig Beaven's\u003c\/strong\u003e collections of poetry are \u003cem\u003eTeaching the Baby to Say I Love You\u003c\/em\u003e (Anhinga Prize for Poetry, 2021), \u003cem\u003eNatural History\u003c\/em\u003e (Gerald Cable Book Award, 2019) and \u003cem\u003eTeaching English Lit on the Day After a Shooting\u003c\/em\u003e (CutBank Chapbook Prize, 2022). He is the recipient of fellowships and scholarships to the Sewanee Writers Conference, the Vermont Studio Center, and the Martha's Vineyard Institute for Creative Writing. His poems have appeared in \u003cem\u003ePrairie Schooner, Western Humanities Review, Carolina Quarterly, Hollins Critic, Atlanta Review, Spoon River Poetry Review, the Best New Poets anthology\u003c\/em\u003e, and many others. A Kentucky native, Beaven earned an MFA at Virginia Commonwealth University and a PhD from the University of Houston. He lives in Tallahassee, Florida.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"From the first pages of Craig Beaven's memorable book, I care — deeply — about this speaker and his characters. Here is a white father trying to protect his Black children in a treacherous world. Here is a teacher whose students are twisted up in the maelstrom of racism and staggering gun violence.\" - \u003cstrong\u003eEllen Bass\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Craig Beaven's language isn't neutral or safe or defensive — it wrestles with the never-ending violence of racism and school shootings. There's no gulf between the personal and the public here.\" - \u003cstrong\u003eEduardo C. Corral\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Worry is central to these elegant, meditative poems, yet Beaven finds opportunities to hold fear and wonder simultaneously. His poems are reminders that gentle revelations can inoculate even as they help us to embrace the momentary joys around us.\" -\u003cstrong\u003e Adrian Matejka\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"With insight into the constant, complicated work of the teacher and the parent, Craig Beaven leads his reader with narrative verve and emotional keenness through waves of accruing implication and out far into the deep, troubled waters of race, violence, and our country's ever-unfolding, always troubled present moment.\" - \u003cstrong\u003eCarrie Fountain\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":42034855477398,"sku":"9781934695753","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/9781934695753ita.jpg?v=1660852119"},{"product_id":"rumors-secrets-lies-poems-about-pregnancy-abortion-choice","title":"RUMORS SECRETS \u0026 LIES: Poems About Pregnancy, Abortion \u0026 Choice","description":"\u003cp\u003e\u003cem\u003eRumors, Secrets, \u0026amp; Lies\u003c\/em\u003e is a collection of narrative poems, prose poems, flash fiction — stories about abortions, unplanned pregnancies, adoptions, and joyous births. 116 writers, including Naomi Shihab Nye, Ellen Bass, and Alicia Ostriker, tell their stories — how women, and men, navigated this always-charged and emotional landscape before and during Roe v. Wade.\u003c\/p\u003e\n\u003cp\u003eThis heart-felt collection was inspired by the recent Supreme Court decision that overturned Roe v. Wade on June 24, 2022. The book was sent to the printer on Aug. 31, just two months later. Submissions arrived from all over the U.S., but also from as far away as South Korea and Israel.\u003c\/p\u003e\n\u003cp\u003eThe book is divided into five sections: Rumors Secrets \u0026amp; Lies; Choice\/No Choice; Loss; Changes, Birth \u0026amp; Joy; and, Frontlines.\u003c\/p\u003e\n\u003cp\u003eExcerpts follow:\u003cbr\u003e\"In the late 1960s, girls just disappeared from high schools and were never seen again. One cocky boy would nod knowingly and say, Another victim, gone to the forests!\" — Naomi Shihab Nye, from \"Rumors\"\u003c\/p\u003e\n\u003cp\u003e\"Monet, Cezanne, Pissarro, Vincent, waiting room walls \/ are all the same, framed Impressions looking at you. \/ Sarah is waiting, watching a waiting room clock forget, \/ holding, tightly, my hand with both of hers.\" — Earl S. Braggs, from \"The Weight of Not Answering\"\u003c\/p\u003e\n\u003cp\u003e\"My blood contains the risk \/ of something missing, a malformation \/ of the head \/ — or worse.\" — Rebekah Denison Hewitt, from \"Karotype\"\u003c\/p\u003e\n\u003cp\u003e\"I would have been dead \/ in twenty-four hours, \/ had the doctor not given me \/ the cruel diagnosis \/ Not a baby, but a lethal weapon \/ ready to explode inside.\" — Janet Yolen, from \"It Grew\"\u003c\/p\u003e\n\u003cp\u003e\"... still \/ she gave this child every intricate bone of both feet, \/ the hollow vertebrae, tiny liver, \/ lungs that fill with air for the first time \/ and begin, without a lesson, \/ bringing this world in and releasing it.\" — Ellen Bass, from \"The Human Line\"\u003c\/p\u003e\n\u003cp\u003e\"what is the womb, \/ but the notion that \/ you could replicate yourself?\" — Fariha Tayyab, from \"Blood and Glass\"\u003c\/p\u003e\n\u003cp\u003e\"this baby won't come || I make peace with the birds || my body a branch left || now all sky || with the river I make peace || succumb to the eddy || I want this baby || from the moment I knew\" — Karla Van Vliet, from \"Delivery\"\u003c\/p\u003e\n\u003cp\u003e\"and here she is \/ unbreathing on your chest, her skin so sheer \/ you can see her little blue heart slow its thump\" — Kari Teicher, from \"Undone\"\u003c\/p\u003e\n\u003cp\u003e\"Try the word abortion in a poem \/ it sits, a boulder in the center of the page \/ the other words tiptoe around it \/ too nervous for conversation\" — Nicolette Reim, from \"Pen in Hand\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCAROL LYNNE KNIGHT\u003c\/strong\u003e is co-director of Anhinga Press. Since 1992, she has edited and designed more than 100 literary publications for the press. She is the author of three books of poetry, A Fretted Terrain, Like Mars (Apalachee Press), Quantum Entanglement (Apalachee Press), and If I Go Missing (Fernwood Press). Her poetry has appeared in Another Chicago Magazine, The Ledge, Slipstream, Comstock Review, Redactions, So to Speak, Rivet, and others. In her prose life, she has finished drafts of four novels about 1960s teenage life in Dade County, Fla. She is a graduate of the University of Miami and Florida State University. She taught college studio classes in digital art and has exhibited digital prints, video, and pottery. She also has worked as a copy writer and graphic designer. She lives in Tallahassee, Fla.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKRISTINE SNODGRASS\u003c\/strong\u003e is an artist, poet, professor, curator, and publisher living in Tallahassee, Fla., USA. She is co-director of Anhinga Press. The proud founder and curator of Women Asemic Artists \u0026amp; Visual Poets (WAAVe), she searches to create an online space for women in the asemic and vispo communities to share work, offer support, and network. The project aims to showcase more women in asemic and vispo galleries, exhibits, and publications. She is Managing Editor and Editor of the WAAVe Global Gallery (Hysterical Books), an anthology of women asemic writers and visual poets.Most recently, she is the author of American Apparell from AlienBuddha Press. She loves collaborating and is always searching for new projects with artists and poets.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"What do poets do amidst the chaos created by the decision to overturn Roe v. Wade? They write — in a new anthology from Anhinga Press, over 100 poets re-examine the past, remind us of the days before the landmark ruling, and help us consider each pregnancy's complexities, for all involved.\" - \u003cstrong\u003eMichael Trammell\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"I sat down this afternoon and began reading the anthology of poems, and I am blown away. So powerful and moving and disturbing and real. Lynn, I can't believe you put this together so well, in such a short time. Bravo.\" - \u003cstrong\u003eSusan Strauss\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Thank you for creating this important project! So much anguish has been unsaid, unheard. So much anguish is coming. Thank God we have poetry and ways to share it.\" - \u003cstrong\u003eMarda Messick\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":42255475376278,"sku":"9781934695791","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/9781934695791ita.jpg?v=1666813914"},{"product_id":"impossible-belonging","title":"Impossible Belonging","description":"\u003cp data-mce-fragment=\"1\"\u003eThe 19th recipient of the Philip Levine Prize for Poetry, Maya Pindyck's \u003cem data-mce-fragment=\"1\"\u003eImpossible Belonging\u003c\/em\u003e weaves personal and family histories with contemporary events and politics in the U.S. and Israel\/Palestine, asking what it means to belong — to our bodies, cultures, histories, and each other. In vivid and lyrical language, Pindyck explores how we lay claim to and surrender identities shaped by historical trauma, diaspora, motherhood, statehood, and the Anthropocene.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDelving into complicated relationships between Jewishness and whiteness, the poems reckon with feelings of cultural belonging and visualize shared hopes and longings. In this collection, everything is interrelated and spiritually equal: human, moth, pear, linoleum tile, language, memory.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAt once profound, playful, and rebellious, \u003cem data-mce-fragment=\"1\"\u003eImpossible Belonging\u003c\/em\u003e collapses distances between people, species, times, and places, opening up difficult questions and fresh, revelatory connections.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMaya Pindyck\u003c\/strong\u003e is the author of the poetry collections \u003cem\u003eEmoticoncert\u003c\/em\u003e (Four Way Books, 2016) and \u003cem\u003eFriend Among Stones\u003c\/em\u003e, winner of the Many Voices Project Award (New Rivers Press, 2009), and co-author of \u003cem\u003eA Poetry Pedagogy for Teachers\u003c\/em\u003e (Bloomsbury, 2022). She is the recipient of a National Endowment for the Arts Fellowship, a Poetry Society of America Chapbook Fellowship, and grants from the Historic House Trust of New York City and Abortion Conversation Projects. Her visual, collaborative, and community-based work has been exhibited at the Milton Art Bank (Milton, PA) and in New York City at the Art in Odd Places Public Festival, the Governors Island Art Fair, the Lewis H. Latimer House Museum, The Clemente, and elsewhere. Currently, Pindyck lives in Philadelphia where she is an assistant professor and director of Writing at Moore College of Art \u0026amp; Design. She grew up in Boston and Tel Aviv.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Your poems … read as carefully orchestrated, beautifully imagined exercises in scale. While this question of scale, and the relationship it cultivates with the spectator, is often taken into account in the visual arts, it's not as common of a consideration in poetry.\" - \u003cstrong\u003eKristina Marie Darling\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \"Maya Pindyck's Impossible Belonging is a collection of elemental folklore conceived from the inside and outside of bodies and the yearnings that shape them. Diaspora is complicated by the Anthropocene in this prescient collection. Pindyck unpacks the stories we shake off to seek out our own paths as mothers, Americans, as artists, and sisters with urgency and hope. At the same time, Impossible Belonging honors those legacies through the tender utterances of these crystalline poems.\" - \u003cstrong\u003eCarmen Giménez Smith\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \" 'You have to touch the fire of letters,' writes Maya Pindyck in a startling collection of poems where we are forced to not look away from the war of language and its gouged field of bodies, blood, blossoms, and ideas. Here is the memory of a self and her home, bleakly dissonant as a war-stained country … Impossible Belonging is defiant, immediate. Beyond geographies of war, love, and words, Pindyck commands the past, present, and future: 'Remember our country\/banning the book noting\/our refusal to see.\/Remember this compass\/mapping our last past.' \" - \u003cstrong\u003eRachel Eliza Griffiths\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \"By extending her curiosity and wit to both big and small, Pindyck collapses the distance between dialectical categories: the literary and mundane, public and personal, home and exile, god and mortal, mother and child, poem and reader – creating at once an oracular intimacy and a radical democracy. We are invited to commune with ancestors, poets, pears, moths, the 'all in small,' where all creatures, peoples, and artifacts, are animated as spiritual equals.\" - \u003cstrong\u003eBarbara Schwartz\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \" ... there are poems, like Maya Pindyck's, that you need to read with others. All through Pindyck's forthcoming collection, Impossible Belonging, I found myself wanting to share her poems with various friends, to read them out loud to my partner or children, and above all, to teach them ...\" - \u003cstrong\u003eJake Marmer\u003c\/strong\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":44339193643325,"sku":"9781934695760","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/9781934695760ita.jpg?v=1673378315"},{"product_id":"somethings-missing-in-this-museum","title":"Something's Missing in this Museum","description":"\u003cp data-mce-fragment=\"1\"\u003eWhen texts about paintings try to reach each other across space, pages that query how we experience art become poetic experiments in seeing\/reading. What clings to what on these page walls? And do paintings from other centuries (older materialities, differently-moving) themselves re-make each other through their almost touch? Are we momentarily part of a painting when we consider such things? And what's the changing position of the museum which poses us by country, by technique, by year and by foot pattern? In \u003cem data-mce-fragment=\"1\"\u003eSomething's Missing in This Museum\u003c\/em\u003e, the subjects are love, torture, transaction and time.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTerri Witek\u003c\/strong\u003e is the author of seven previous books of poetry and has been featured in the anthologies: \u003cem\u003eJUDITH: Women Making Visual Poetry\u003c\/em\u003e (2021), and in the \u003cem\u003eWAAVe Global Gallery of Women's Asemic Writing and Visual Poetry\u003c\/em\u003e (2021). Her many collaborations with artists and writers have been featured in performances, museum shows, and gallery exhibitions. Witek teaches Poetry in the Expanded Field in Stetson University's MFA of the Americas with Brazilian visual artist Cyriaco Lopes, and their work together is represented by the liminal in Valencia, Spain.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"You're in for a walloping good time with Terri Witek's 'Something's Missing in This Museum.' Sure, she goes to the Louvre, but not one you've ever visited. Ekphrasis never had it so wild and so accurate with paintings that 'bestrange us earthers, \/ cog in certain civic fears.' Earlier 'phones flash their ten-secondside chapels.' This is the end of 'Vermeer:' 'You look away, light – light wounds.' Perfect. She imagines 'the sexual smell of night remountained' and 'what water looks like to water as interpreted by 8 black ribbons.' So good. 'Let's cabinet this,' she writes. We will.\" - \u003cstrong\u003eTerese Svoboda\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \"What's a museum for? Some people say they are not only spaces for contemplation and dialogue but also for use and abuse. Probably not since the famous and curious race through the Louvre staged by Jean-Luc Godard in his film, 'Bande à part,' have we seen such a challenging and provocative approach to what a museum should be used for. Terri Witek's poems aim precisely at that, and like an intense and risky journey through art history, they reveal the gaps our ways of seeing create, either by omission or neglect. What's the political utility of art? Can art heal the original wound of the world, which is also its very origin? If this world works by amazement, then Terri Witek's poems should be mandatory reading.\" - \u003cstrong\u003eCarlos Soto Román\u003c\/strong\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":44396274123069,"sku":"9781934695777","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/products\/9781934695777ita.jpg?v=1674162433"},{"product_id":"moving-to-neptune-new-selected","title":"Moving to Neptune: New \u0026 Selected","description":"\u003cp\u003eBraggs confronts us with a combination of hard realism and musical lyricism, painting unforgettable images in unforgettable language. This is American poetry at its finest: as spacious as Walt Whitman, as frank as the Beat Poets, and as alive with witness as the poetry of the Black Arts Movement. Braggs is a master storyteller, brings a wide range of characters and social circumstances to life on the page.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eProphetic, American as the blues, Braggs' poems take the outrages of recent history into a vision where the heart and humor, irony and vulnerability enable poet and community to survive and sometimes sing. There is breathtaking bravery and edge to the voice here, Joycean stream of consciousness that refuses to be censored or subdued.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eIf poetry is music, Earl S. Braggs is its composer — in smoky, sensual, serpentine stanzas of jazzy poetry at its improvisational best: staccato-trumpeting lines, tempo-driven voices, melodic repetitions pouring into the corners of our consciousness, ragtiming us into booty-shaking highs, and tenor-saxing us into deep, deep downs.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEARL S. BRAGGS\u003c\/strong\u003e, UC Foundation and Herman H. Battle Professor of English at the University of Tennessee at Chattanooga, is the author of \u003cem\u003eHat Dancer Blue\u003c\/em\u003e, winner of the 1992 Anhinga Poetry Prize selected by Marvin Bell. He is the author of these books from Anhinga Press: \u003cem\u003eWalking back from Woodstock, House on Fontanka, Crossing Tecumseh Street, In Which Language Do I Keep Silent, Younger than Neil, Cruising Weather Wind Blue\u003c\/em\u003e and \u003cem\u003eSyntactical Arrangement of a Twisted Wind\u003c\/em\u003e. He also is the author of \u003cem\u003eBoy Named Boy [a Memoir]\u003c\/em\u003e (Wet Cement Press) and \u003cem\u003eObama's Children\u003c\/em\u003e (Madville Publishing).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\"After Allyson,\" a chapter from his yet to be published novel, \u003cem\u003eLooking for Jack Kerouac\u003c\/em\u003e, won the 1995 Jack Kerouac Literary Prize. Other awards include Tennessee Arts Commission Individual Artist Grant and a Chattanooga Allied Arts Individual Artist Grant. Supported by Summer Fellowships from the University of Tennessee at Chattanooga, he has traveled and written in Russia, Ukraine, France and Spain. He is a native of Wilmington, North Carolina.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Jazz runs through \u003cem\u003eMoving to Neptune\u003c\/em\u003e like a fishing line through lily pads — you can't always see it, but it's there, dangling its smoky lure, enticing a reader's ears. You can feel it, sense it, your whole body vibrant and attuned to its riffs and runs. In the title poem, an open invitation to the reader to kick back and swing to the hot as pepper sprouts band, to revel in the sultry sounds of Rollins, Mingus, Roach, Monk — and Lester Young, who we are told is moving to Neptune.\" - \u003cstrong\u003eGeorge Drew\u003c\/strong\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":45671951368509,"sku":"9781934695678","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934695678ita.jpg?v=1689276907"},{"product_id":"careful","title":"Careful","description":"\u003cp\u003e\"\u003cem\u003eCareful \u003c\/em\u003eis an astonishing, tightly braided book. Riffing on \u003cem\u003eMad Men\u003c\/em\u003e and Punky Brewster, \u003cem\u003eBlue Velvet\u003c\/em\u003e, the WWF and \u003cem\u003eRescue 911\u003c\/em\u003e, Katie Fuller's eclectic and insightful poems hum with undercurrents of danger, digging deep into themes of survival, sexual exploitation, pain, and violence,\" says the Anhinga Prize Judge Erika Meitner of the 2022 winner.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eExamining her own cultural consumption through the years, through topics as innocuous as children's programming and as high-brow as independent cinema, the speaker can't turn away from the horrors and sublimities of the digital age: \"I AM DEATHLY AFRAID OF THE INTERNET\/AND I AM ON IT ALL THE TIME.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eAdds poet Kerri Webster \"Fuller looks unflinchingly, yet doesn't resolve to abandon us in this bold collection.\" In a media-saturated world, \u003cem\u003eCareful\u003c\/em\u003e seeks the hope that might lie in language, and love, to survive and create, to \"consult the bridge to memory presented as fact.\" Meitner concludes.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e\"The moral of the story is \u003cem\u003ethe television pulses\u003c\/em\u003e,' writes Fuller, and these poems pulse, too, with corporeality and snappy dialogue, with music and heart, and with a restless lyric intelligence that reminds us: 'not everyone gets saved.'\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eKATIE FULLER\u003c\/strong\u003e is a poet from western Maine, and the author of the chapbooks \u003cem\u003eValve\u003c\/em\u003e and \u003cem\u003eThe Greenwood Cemetery\u003c\/em\u003e. She studied poetry at the University of Maine and Boise State University. For most of the past decade, she wrote and taught in Idaho, and now resides in New England.\u003cem\u003e Careful\u003c\/em\u003e is her first full-length collection.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eCareful\u003c\/em\u003e is an astonishing, tightly braided book that invites us to ruminate on the ways in which we interact with media, and how it, in turn, shapes our consciousness. Riffing on \u003cem\u003eMad Men\u003c\/em\u003e and Punky Brewster, \u003cem\u003eBlue Velvet\u003c\/em\u003e and WWF and Rescue 911, Katie Fuller's eclectic and insightful poems hum with undercurrents of danger, digging deep into themes of survival, sexual exploitation, pain, and violence when it comes to moving through the world in a female body in the 21st century. 'The moral of the story is the television pulses,' writes Fuller, and these poems pulse, too, with corporeality and snappy dialogue, with music and heart, and with a restless lyric intelligence that reminds us: 'not everyone gets saved.\" -\u003cstrong\u003e Erika Meitner\u003c\/strong\u003e, 2022 Judge, Anhinga Prize for Poetry\u003cbr\u003e\u003cbr\u003e\"In \u003cem\u003eCareful\u003c\/em\u003e, Katie Fuller isn't afraid to show you her search history, or is afraid but does it anyway in this bold collection. 'I have trash in those dumpsters,' she tells us, and who doesn't? What \u003cem\u003eCareful\u003c\/em\u003e builds is not just a personal but a collective archive, a Wayback Machine that folds in\u003cem\u003e Blue Velvet\u003c\/em\u003e, blueberry harvests, pro wrestling, embodiment, a war we've collectively pretended to forget, cancer clusters, mothers and grandmothers. Fuller eschews 'euphoric recall' and looks unflinchingly, yet doesn't resolve to abandon us. 'Oh what forgotten patron saint will save us\/how will we get out,' the speaker says. You're holding the answer in your hands.\" - \u003cstrong\u003eKerri Webster\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":47067219820861,"sku":"9781934695838","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934695838ita.jpg?v=1696452545"},{"product_id":"circling-the-start","title":"Circling the Start","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eCircling the Start\u003c\/strong\u003e\u003c\/em\u003e by Dixie Denman Junius is a groundbreaking debut in the Anhinga Visual Poetry Series, offering a transformative journey through the realms of visual poetry, asemics and glitch. Chosen by curator Kristine Snodgrass for its vibrant script work and radical meditative energy, this book invites readers to explore the depths of artistic expression with 57 full-color illustrations\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe Enso becomes asemic and the asemic becomes glitch, and then the collection, and our collective minds as we meditate through writing and non-writing, transcend even the base definition of asemic: work that looks like a writing system without semantic meaning. Glitch is unconstrained in its curtain through chance. No glitch can ever be recreated and is ultimately out of the practioners' control. Still, the process of glitching is deeply personal. Symbol to non-symbol, image to symbolic. This is the Circling.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRaised in the Catskill Mountains of upstate New York, \u003cstrong\u003eDixie Denman Junius \u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003eattended Hartwick College and graduated from Boston University. After pursuing a corporate career in Boston, she moved to Southern California where she became known for her handmade paper and fiber art. Dixie lived in Hawaii for several years before relocating to Portland, Oregon, where she now resides. Currently, in addition to her creative efforts, Dixie teaches intuitive watercolor and papermaking.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArt works by Dixie Denman Junius have appeared in \u003cem\u003eIndelible Literary Journal, South Florida Poetry Journal, GAS: Art and Music, Infinity: My ND World, The New Post Literate: A Gallery of Asemic Writing, New Concrete Poetry, Singing with the Nightingales\u003c\/em\u003e and \u003cem\u003eWAAVe Anthology\u003c\/em\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHer work has been featured by Van Vliet Gallery in a solo show: Mystery and Meaning. Her work has been displayed in other venues, including: Red Trillium Gallery, Phoenix Rising Gallery, and Daily Paintworks. Her art is included in numerous private collections throughout the United States.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"With this collection, the reader-viewer can process in a personal way and in a collective way. Dixie is one of the most prolific visual poets in our field — another woman carrying the weight of the new expanded field with power and love.\" - \u003cstrong\u003eKristine Snodgrass\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":47297028718909,"sku":"9781934695807","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934695807ita.jpg?v=1698959369"},{"product_id":"syndrome","title":"Syndrome","description":"\u003cp\u003eSelected by former US Poet Laureate Juan Felipe Herrera for the 2022 Philip Levine Prize for Poetry, \u003cem\u003eSyndrome\u003c\/em\u003e scrutinizes the history, rhetoric, and naked power by which Puerto Rico became an \"unincorporated territory\" and its peoples pathologized subjects. That Puerto Rico is the world's oldest colony and Puerto Ricans the only nationality to have a psychological disorder named after them cannot, after all, be taken lightly. Conjuring an ensemble of chronicles, memory, anecdotes, anthems, monuments, statistics, and theory, this debut collection reckons with the collective traumas that haunt the Boricua psyche, a psyche vitiated by emancipatory desires as much as geopolitical travesties. In doing so, it strives to de-sublimate the effects of imperial power and enliven a politics for autonomy, beauty, and constituent power. Inventive, rigorous, and unyielding, \u003cem\u003eSyndrome\u003c\/em\u003e is nothing shy of a counter-diagnosis.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBorn in Puerto Rico and raised in Tampa, Florida, \u003cstrong\u003eÉric Morales-Franceschini\u003c\/strong\u003e is a former construction worker, US Army veteran, and community college graduate who now holds a PhD in Rhetoric from UC, Berkeley and is Associate Professor of English and Latin American Studies at the University of Georgia. He is the author of \u003cem\u003eAutopsy of a Fall \u003c\/em\u003e(Newfound, 2021), winner of the 2020 Gloria Anzaldúa Poetry Prize, and \u003cem\u003eThe Epic of Cuba Libre: The Mambí, Mythopoetics, and Liberation\u003c\/em\u003e (University of Virginia Press, 2022), winner of the MLA's 2023 Katherine Singer Kovacs Prize and the 2023 Cultural Studies Association First Book Award. A recipient of fellowships from the Woodrow Wilson and Ford foundations, his essays and poetry have been published in a variety of scholarly and literary venues, including \u003cem\u003eGlobal South Studies, Journal of Postcolonial Writing, Age of Revolutions, Small Axe, Acentos Review, Kweli, Muzzle, AGNI,\u003c\/em\u003e and \u003cem\u003eBoston Review. Syndrome\u003c\/em\u003e is his debut full-length collection.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\" 'What form does colonization take?' asks Eric Morales-Franceschini, in his probing and poignant, prize-winning collection. He answers with testimony, through law, data, encounters with anti-immigrant hatred and white-supremacy, through memory, myth, movies, parentheses, footnotes, manifestos, and the rhetoric of lyrical experimentation. Perhaps the most convincing answer that Morales-Franceschini provides to the question of colonization's takes is to say that it's a Syndrome — a pathology that destroys the colonized and the colonizer. Fanon and Césaire are models here, and so is the work of Craig Santos Perez, a fellow-poet-theorizer of the unincorporated territory. From the revolutionary spaces of Puerto Rico and the deep UnitedStatesian south, Syndrome models how an honest confrontation with the darkness that surrounds us, fused with love and a vision for something unknown and unseen, can help us survive the endless erosion of the emergency.\" - \u003cstrong\u003eDaniel Borzutzky\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":47650752299325,"sku":"9781934695814","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934695814ita.jpg?v=1704823036"},{"product_id":"colorways","title":"Colorways","description":"\u003cp\u003eWith lush neo-concrete poems positioned beside ghostly free-verse texts, Andrew Brenza's \u003cem\u003eColorways\u003c\/em\u003e offers multi-vectored and overexposed surfaces that complicate the notion of the person in the world.\u003c\/p\u003e\n\u003cp\u003eSelected for the innovative \u003cstrong\u003eAnhinga Press Visual Poetry Series\u003c\/strong\u003e, Brenza's \u003cem\u003eColorways\u003c\/em\u003e is a serial poem of alternating visual and verbal pieces that confronts the problem of emotive expression in an age where everything worth saying may have already been said. Thus, \u003cem\u003eColorways\u003c\/em\u003e poses an implied argument with the stultifying world that surrounds it, and offers readers a space to explore meaning freely, a space to be free, to participate with this artist-poet in multiplicities of interpretation and a shattering of the conventions of reading.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAndrew Brenza\u003c\/strong\u003e is the author of numerous books of experimental writing, including the hybrid novel \u003cem\u003eWRYTHM\u003c\/em\u003e (Montag, 2022) and the visual poetry collection \u003cem\u003eSmear\u003c\/em\u003e (BlazeVOX, 2021). His latest collection, \u003cem\u003epod\u003c\/em\u003e, a book of channeled visual poems was recently released by Ghosttruth, an imprint of Montag Press. Andrew also is the founder and editor of Sigilist Press, a micropress devoted to the publication of visual poetry.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Pattern is essential to poetry. Repetition, variation, rhyme, stress and emphasis are all features we associate with the sound structure of poetic composition. In\u003cem\u003e Colorways\u003c\/em\u003e, Andrew Brenza's new collection, the visuals are where these effects happen. The texts of the work are light, open, suggestive, and spacious — but the overprinted fields of letterforms and lines shimmer and vibrate with dynamic energy. Brenza orchestrates the visual components to a symphonic pitch that complements the verbal texts, giving them resonance and graphic assonance. Luscious, sensual, and exciting, these are vibrant typo-poieticworks.\" -\u003cstrong\u003e Johanna Drucker\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Andrew Brenza's \u003cem\u003eColorways\u003c\/em\u003e offers a Neptunian abyss. Each page of embroidered typography is a textual pool to either stare into, like Narcissus, or plummet into, like Icarus. The sunlight flickers off the rolling surf, seducing us to lean in, move closer, tumble.\" - \u003cstrong\u003eDerek Beaulieu\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Vibrating with visuals, Brenza's text is ghostly yet alive. A spectral voice traverses and transcends imagery and text as 'The Brain-has Corridors surpassing Material Place-'\" - \u003cstrong\u003eErica Baum\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":47785125773629,"sku":"9781934695852","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934695852ita.jpg?v=1706738393"},{"product_id":"whipsaw","title":"Whipsaw","description":"\u003cp\u003eThe latest collection from award-winning Cuban American poet Suzanne Frischkorn, \u003cem\u003eWhipsaw\u003c\/em\u003e delves into the culture of violence in the United States, the Anthropocene, and family history. Poems of place and climate grief are braided with the harrowing experience of motherhood in the time of 'me too', police brutality, and mass shootings. Through lyric, erasure, and origin story Whipsaw bears witness in the age of anxiety. Along the way Frischkorn observes the forest, its ecology and its wildlife, as it transforms through the seasons. In lucid images and lyrical language she reveals the resilience of the natural world and reflects on the wisdom it has for humanity. Voice driven, defiant, elegiac in mood, yet not without hope: 'Do you remember the morning after the ice storm? \/ How the wind through the branches \/ sounded like the parting of bead curtains?' Throughout \u003cem\u003eWhipsaw\u003c\/em\u003e the wonders of the forest provide solace.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSuzanne Frischkorn\u003c\/strong\u003e is a Cuban-American poet and essayist. She is the author of four poetry books including \u003cem\u003eWhipsaw\u003c\/em\u003e (Anhinga Press, 2024), \u003cem\u003eFixed Star\u003c\/em\u003e ( JackLeg Press, 2022), \u003cem\u003eGirl on a Bridge, Lit Windowpane\u003c\/em\u003e (both from Main Street Rag Press), and five chapbooks. She's the recipient of The Writer's Center Emerging Writers Fellowship for her book \u003cem\u003eLit Windowpane\u003c\/em\u003e, the Aldrich Poetry Award for her chapbook \u003cem\u003eSpring Tide\u003c\/em\u003e, selected by Mary Oliver, an Individual Artist Fellowship from the Connecticut Commission on Culture \u0026amp; Tourism, and a 2023 SWWIM Residency Award at The Betsy. She is an editor at $ -Poetry Is Currency, and serves on the Terrain editorial board. She lived and wrote in Connecticut for many years and currently resides in New York.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Suzanne Frischkorn writes with the grit and tenderness it takes for a woman to live and raise children in violent America. Peril is close at hand, but so too is the solace of forests and seasons. She gathers crystalline images, as after an ice storm, 'the branches\/sounded like the parting of bead curtains.' But the cut of helicopter blades follows close by. Hers is a terrible and beautiful balancing act. She takes inspiration from Alice Notley, Keith Richards, the Bard—and most profoundly Gaston Bachelard who leads her into 'the great law of forest revery.' I treasure this book so rich in thought and feeling.\" -\u003cstrong\u003e Alison Hawthorne Deming\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"Suzanne Frischkorn's \u003cem\u003eWhipsaw\u003c\/em\u003e is an astonishing run through verdant and shattered forests, transcended one temporal dimension at a time. Everything we come to know, by breath and apparition, gives way to what we pull through it, make of it. Whether harp or clasp, song or quietude, dark horse or deer's leap, social burdens attend condolences and we sure ourselves with understory every entry a new bound. A sensational and deeply intense read, a scatter of sunrays cut through bird song great. This one cuts to the core, delivering stunning reveal. Must read!\" - \u003cstrong\u003eAllison Adelle Hedge Coke\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Anhinga Press","offers":[{"title":"Default Title","offer_id":48098712224061,"sku":"9781934695845","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0477\/8731\/1254\/files\/9781934695845ita.jpg?v=1710879325"},{"product_id":"quick-change-artist-1","title":"Quick Change Artist","description":"\u003cp\u003e\u003ci\u003eQuick Change Artist\u003c\/i\u003e is a postmodern paean to Whitman's pronouncement, \"I am large, I contain multitudes.\" From her \"Fortieth Birthday Poem,\" through a series of secular psalms, to a \"slanted crown\" of sonnets written during the global pandemic, Wade's speaker in \u003ci\u003eQuick Change Artist\u003c\/i\u003e never stops evolving, in content or in form. 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