Civil twilight is the astronomical term for the minutes just before sunrise and just after sunset. In this collection, National Book Award finalist Cynthia Huntington examines the civil twilight we live in now, unsure of whether the darkness is closing in or whether the light is about to break.
In these poems, we follow a speaker as she works through the loss of young love, the death of her parents, marriage’s hardness and beauty, sexual assault, and the devastation of a pandemic—evolutions of trauma that fracture time and alter perception. Twinned with these extremes are shimmering manifestations of joy only an imperfect world can make possible.
In The Flesh Between Us the speaker explores our connections to each other, whether they be lovely or painful, static or constantly shifting, or, above all, unavoidable and necessary.
In these poems, five generations sing, save, scold, bury, and cook against the culture and history that emerged from the pineapple and sugar cane plantations of mid-nineteenth-century Hawaii, from the bomb-scapes and hatreds of World War II, and from the canning and tourism industry of the twentieth century.
Fraught with obsession, addiction, and unrequited love, Catherine Pond’s Fieldglass immerses us in the speaker’s transition from childhood to adulthood. A queer coming-of-age, this collection is a candid exploration of sexual identity, family dynamics, and friendships that elude easy categorization, offering insight on the ambiguous nature of identity.
In these alluring poems, myth becomes part of the arsenal used to confront the flaws and failures of our fallible bodies. Shadowing the trajectory of an elegy, this poetry collection of lament, remembrance, and solace wrestles with how we come to terms with suffering while still finding joy, meaning, and beauty.
Crossing oceans and generations, from her childhood home in Baguio City, the Philippines, to her immigrant home in Virginia, poet Luisa A. Igloria demonstrates how even our most personal and intimate experiences are linked to the larger collective histories that came before.
All the Great Territories is a book of elegies for a father as well as a confrontation with the hostile, yet beautiful landscape of southern Appalachia. In the wake of an estranged father’s death, the speaker confronts that loss while celebrating the geography of childhood and the connections formed between the living and the dead.
“What if the end were as colorless as real / estate?” the speaker asks in Unearth. Poet Chad Davidson’s latest collection takes a hard look at our world as it collapses under numerous trials and tribulations. Fashioned mostly of elegiac poems, Unearth charts the way in which personal grief ripples out to meet and mirror larger systems of loss.
The River Where You Forgot My Name travels between early 1800s Virginia and Missouri and present-day western Montana, a place where “bats sail the river of dark.” In their crosscutting, the poems in this collection reflect on American progress; technology, exploration, and environment; and the ever-changing landscape at the intersection of wilderness and civilization.
The speaker in this collection seeks an understanding of the darkness of suicide and mortal illness in the light of Christian faith. Poet Leslie Williams captures this light in tender and piercing poems that traverse a grieving world where healing is always possible but never assured: “my God can do this, but my God / might not.”
Objects of Hunger explores in reflective, raw lyrics the dread and beauty of our inner worlds as expressed through our struggles against the self and the other. Each poem is a slender organism that speaks its own mind, unafraid of pathos; the emotions here have been tried on and lived in, and the work accrues, lyric after lyric, page after page.
These prose poems read like dreams and nightmares, fables and myths. With a dark whimsicality, Barker explores such topics as extinction, power, class, the consequences of tyranny and war, and the ongoing destruction of the environment in the name of progress.
In these edgy poems of witness, Sara Henning’s speaker serves as both conduit and curator of the destructive legacies of alcoholism and multigenerational closeting. Considering the impact of addiction and sexual repression in the family and on its individual members, Henning explores with deft compassion the psychological ramifications of traumas across multiple generations.
Nostalgia for a World Where We Can Live resides at the turbulent confluence of relentless news cycles and the repeated rending of our interior lives. In Berlin’s poetry sorrow makes its own landscape—solitary, intimate, forward-looking.
Women’s voices offering an intimate view into women’s livesLizzie Borden in Love, a collection of poems by national bestselling author Julianna Baggott, offers poignant commentary in the voices...
