A few days before his death in 1996, Larry Levis mentioned to his friend and former instructor Philip Levine that he had "an all-but-completed manuscript" of poems. Levine had years earlier recognized Levis as "the most gifted and determined young poet I have ever had the good fortune to have in one of my classes"; after Levis's death, Levine edited the poems Levis had left behind. What emerged is this haunting collection, Elegy.

The poems were written in the six years following publication of his previous book, The Widening Spell of the Leaves, and continue and extend the jazz improvisations on themes that gave those poems their resonance. There are poems of sudden stops and threats from the wild: an opossum halts traffic and snaps at pedestrians in posh west Los Angeles; a migrant worker falls victim to the bites of two beautiful black widow spiders; horses starve during a Russian famine; a thief, sitting in the rigging of Columbus’s ship, contemplates his work in the New World. The collection culminates in the elegies written to a world in which culture fragments; in which the beasts of burden—the horses, the migrant workers—are worked toward death; a world in which "Love's an immigrant, it shows itself in its work. / It works for almost nothing"; a world in which "you were no longer permitted to know, / Or to decide for yourself, / Whether there was an angel inside you, or whether there wasn't."

Elegy, as Levine says, was "written by one of our essential poets at the very height of his powers. His early death is a staggering loss for our poetry, but what he left is a major achievement that will enrich our lives."

From movie making to medical misadventures, meditations on widowhood to feminist protestations, Expectation Days is a dazzling portrayal of instances in Sandra McPherson’s life. Her autobiographical collection uses peculiar and exact language to reflect on a wide range of activities that include grouse hunting, going through airport security after 9/11, and climbing a coastal cliff. From being an unintended child to ceremonializing a lifetime “served,” McPherson speaks in both clear and distressing voices from the state of speechless fear that is bereavement.

     Will the little figures ever reach the monument?

A doctor orders me to be on watch.

     Will the mist pass over their cheeks

     and clear the strollers’ eyes?

If so, I’ll see it. I’m on watch.

I train my eyes on paintings

to see if there is any change.

--from “On Suicide Watch”

<i>Eternal People,/i> tells the story of Joseph Abrams, a Ukrainian Jew who finds his way to America at the end of the nineteenth-century. During a break from his studies in Russia, he returns to his shtetl in the Ukraine to find it is the target of a Cos

Robert Pack is a narrative master blessed with a keen ear for everyday speech. In poems that recall Robert Frost's meditative regard of nature, Pack's newest collection, Elk in Winter, resolves universal questions in the particular, the personal, and the intimate. This rich and varied volume moves from comedy to elegy, from lyric to narrative, in which individual characters are revealed and rendered symbolic by the stories that enclose them. What finally unites the poems of Elk in Winter is Pack's desire to appeal to the ear as much as to the heart, and to discover and reveal the passionate music of ideas.

For those who care about literature or simply love a good laugh (or both), Charles Portis has long been one of America's most admired novelists. His 1968 novel True Grit is fixed in the contemporary canon, and four more have been hailed as comic masterpieces. Now, for the first time, his other writings--journalism, travel stories, short fiction, memoir, and even a play--have been brought together in Escape Velocity: A Charles Portis Miscellany, his first new book in more than twenty years. All the familiar Portis elements are here: picaresque adventures, deadpan humor, an expert eye for detail and keen ear for the spoken word, and encounters with oddball characters both real and imagined. The collection encompasses the breadth of his fifty-year writing career, from his gripping reportage of the civil rights movement for the New York Herald Tribune to a comic short story about the demise of journalism in the 21st century. New to even the most ardent fan is his three-act play, Delray's New Moon, performed onstage in 1996 and published here for the first time. Whether this is your first encounter with the world of Portis or a long-awaited return to it, you'll agree with critic Ron Rosenbaum--whose essay appears here alongside tributes by other writers--that Portis "will come to be regarded as the author of classics on the order of a twentieth-century Mark Twain, a writer who captures the soul of America."

Dannye Romine Powell writes of marriage, parenthood, and temptation-of love in its many forms. Her lyrical, imagistic poems bring into sudden focus the subtle shifts of understanding and emotion within intimacy. In her reworking of the primal story of Eve and Adam and throughout all the poems, she elucidates how everyday life can sustain a family or sunder it. With clarity and care, she illuminates the world.

The Worry of the Far Right

The Reverend Donald Wildmon, executive director

Of the American Family Association in Tupelo,

Mississippi, birthplace of Elvis Presley, he who

Unleashed the libido of a generation, announced today

That he, the Reverend, wanted again an America

In which he could drive his convertible into town,

Park it, leave his keys in the ignition,

And worry only that it might rain,

Rather than worry about Liam Rector.

 America—you are on notice. Liam Rector has little patience for “sincere” poetry, spin-doctored politicos, or moral hot air of any kind. The titles of these poems could easily serve as their own warning labels: those with clinical depression or easily triggered violent tendencies should use with caution. 

The Executive Director of the Fallen World is fearless and forthright, just the sort of blunt reality check that is missing from so much of contemporary, over-stylized poetry. Rector’s stoicism and slightly murderous sense of humor pervade these poems as he doffs his hat to humility and audacity, taking on America, money, movement, marriages, and general cultural mayhem. The characters and voices in Rector’s poems are, by tragic turns, unflinching, clearly and cleanly bitter, sarcastically East Coast, and lyrical.  Writing in tercets throughout, the poet breathes new life into this classic form with skill that might just send some unsuspecting readers over the edge. 

As the former executive director of the Association of Writers and Writing Programs and a spirited First Amendment advocate who has sparred on screen with Bill O’Reilly, Liam Rector knows whereof he speaks in The Executive Director of the Fallen World.

Etai-Eken is a legend told in a series, a cycle of poems, which is to say, told in different languages. The action of the poems in the poem is their moving in and out of the legend by the changes of access to the larger legend; an access of the present in the ancient, of the present’s knowledge and experience of it.

In his first book of poetry in twenty years, Michael J. Rosen captures life in the foothills of the Appalachians. Every Species of Hope: Georgics, Haiku, and Other Poems uses a variety of poetic forms, as well as Rosen’s own pen-and-ink drawings, to give voice to the predicaments of living among other creatures who share a plot of land we think we claim as home. The poems are an attempt at homeostasis: that balancing act every creature works at every hour of every day—a way of living peacefully, expending the right energy in the most productive ways, avoiding or deflecting trouble, gravitating toward sources of fulfillment and contentment.
 
At the center of this book is a suite of poems inspired by Virgil’s Georgics, or “poems of pastoral instruction.” In Rosen’s case, he is more the student than the teacher. Likewise, five short sections of haiku continue his meditation on—or mediation of—art and nature. As he has written, “Haiku provides a brief and mirror-like calm in the choppy waters—in the undertow—of current events: a stillness in time where more than our singular lives can be reflected.”
 
 
Illustrated with two dozen pages from the author’s own journal, Every Species of Hope is the consummation of decades of observation, humility, and awe. 
 

How do we find the courage to change? In The Exit Coach, a collection of six stories and a novella, the characters arrive at an impasse that requires them to step out of the wreckage of their habituated lives. It is the entrance of an unexpected voice—a visitor from France, a retired talent scout, an invisible friend, a midnight phone call, or even a wild animal—that disrupts their patterns of behavior and illuminates the possibilities they’ve been blind to, pointing the way to an exit they’ve dreamt of, but lacked the courage to enter.

The world of William Trowbridge is one preoccupied with loss, with the fall from some possibility of grace that all who are born must bear. In the title poem of Trowbridge’s first full-length collection the poet calls our attention to movies, to Shane in particular. He asks us to identify, not with Shane, the lonely knight on a nameless quest, but with the much more lonely, and real, Jack Palance, the Prince of Darkness.

Trowbridge favors the villain, the outcast, the imperfect, the sinner, the alienated: King Kong, the Frog Prince, Frankenstein’s monster.

Everything this poet touches is volatile—the poet himself, the people and world around him, ideas and mythologies, the ghosts of memory and the dream of possible futures, all seem to burst into fragments. Mark Turcotte uses poetry to gather up the pieces—the shards of joy and grief, peace and doubt, strength and temptation, questions and answers—as he tries to define and rediscover what is lost when everyday life becomes explosive.

A new collection of poetry from a founding member of the Pittsburgh Poetry Exchange.

In Elegy on Toy Piano, Dean Young's sixth book of poems, elegiac necessity finds itself next to goofy celebration. Daffy Duck enters the Valley of the Eternals. Faulkner and bell-bottoms cling to beauty's evanescence.

Even in single poems, Young's tone and style vary. No one feeling or idea takes precedence over another, and their simultaneity is frequently revealed; sadness may throw a squirrelly shadow, joy can find itself dressed in mourning black. As in the agitated "Whirlpool Suite": "Pain / and pleasure are two signals carried / over one phoneline."

In taking up subjects as slight as the examination of a signature or a true/false test, and as pressing as the death of friends, Young's poems embrace the duplicity of feeling, the malleability of perception, and the truth telling of wordplay.

From the moment of a marriage’s heated inception to its period of luminous crowding and onward into distance and darkness, Bonnie Arning’s Escape Velocity asks if it’s possible to exist outside the only universe we’ve ever known. In modes both lyric and narrative, we are given a peephole into the height and decline of a marriage that begins beneath the moving lights of Las Vegas, Nevada, and traverses the devastating terrain of gambling, miscarriage, infidelity, and violence.

Arning gives voice to divergent aspects of love and violence through her use of math problems, erasures, dictionary entries, structured stanzas, and sprawling free verse. This multiplicity of forms comes together to explore everything from pop culture references of domestic violence to cultural notions of victims and victimhood. However dark, collectively these poems tell a love story—an acceptance of our capability to love those who hurt us, but also the love-of-self required to slowly and steadily reach "the velocity to be everleaving."

In the tradition of Eavan Boland and Louise Glück, Arning wrestles down and examines the terrible without flinching. We journey with her, engrossed by each difficult truth: a precipice near which we are both terrified to stand and transfixed by its unnerving insistence on beauty.

Silver Medal, 2020 Florida Book Award
 

In El Dorado, Peter Campion explores what it feels like to live in America right now, at the beginning of the twenty-first century. Splicing cell-phone chatter with translations of ancient poems, jump-cutting from traditional to invented forms, and turning his high-res lens on everything from box stores to trout streams to airport lounges, Campion renders both personal and collective experience with capacious and subtle skill.

Autobiographical poetry from one of Kentucky’s rising Affrilachian literary stars.

Bernard Clay’s autobiographical poetry debut, English Lit, juxtaposes the roots of Black male identity against an urban and rural Kentucky landscape. Hailed as one of the most authentic voices of his generation, Clay artfully renders coming-of-age in the predominately Black West End of Louisville, Kentucky. Balancing the spirited grit of a farmer and the careful lyricism of a poet, English Lit is a triumph of new Affrilachian—African American and Appalachian—literature.

"Every Ravening Thing is the most exciting book I’ve read in a very long time." —Chase Twichell

In her third collection, Geri Doran continues to seek a quieter poem in a more natural form. Against the immediacy of troubled times, these poems retain a belief that long thought, solitude, restraint, and immersion in the world given to us (not made by us) are a means of passionate, even radical, devotion. And yet—what happens when a poet begins to doubt her singular reliance on poetry? When the only way to speak is in a language poised to evanesce? Modal, flexible, sonorous—the lines and tones of these meditative lyrics trace one route back.

What happens when a central part of life as we know it does not exist? Noah Falck’s latest collection answers this question in a playfully gloomy way that reveals the strange edges of our reality. Anyone who has experienced that rug-pulling sensation of change, of strangeness, will relate to Noah Falk’s Exclusions. Each lyric poem “excludes” a common subject, including topics such as fiction, modern technology, answers, government, and romance. By setting these subjects against a backdrop of obscurity and strangeness, Falck skillfully keeps readers invested and off-balance. Exclusions brings readers into a world where “the wind is nothing more than a brilliant collection of sighs” and “the sun flattens into a sort of messy bruise over the lake.” Even excluding many of the things we take for granted, Falck’s lyric poetry includes so much: death, smoke, shadows, sadness, history. This collection will leave readers with a changed perspective on what is necessary, and how to deal with immense change. A 2020 Believer Book Awards Finalist, Exclusions has been praised for its ability to “[keep readers] off balance, stumbling forward, and absolutely alive with both the inventive possibilities of lyric poetry and that rare experience of watching the genre redefine itself in a pair of this art’s most capable hands.” This is a genre-defining book of poetry that allows us to look into the past, present, and future to understand “the foundations of sadness beginning with the needs of children.”

Winner, 2016 Miller Williams Poetry Prize, edited by Billy Collins

Randall Jarrell said that when you read a poem “you are entering a foreign country whose laws and language and life are a kind of translation of your own.” In [explicit lyrics], we are visitors to a world that is familiar as if the poems are occurring in our town, on the streets where we live. But the laws have changed, and what is normally important is no longer relevant. What was meaningless is now everything.

As the title indicates, these poems are lyrics—musings on the small decisions required by existence in the modern world. They contain the grand themes of art—life, love, and mortality—but not where you expect. The smallest and most mundane objects become the catalyst for reevaluating our roles in society and the world. This is not poetry as art. This is life as art, from a country where poetry is the only language.

As the Vietnam War grinds on and the Nixon presidency collapses, Del "Minnow" Finwick's small world in Wisconsin has blown apart. His father, a deputy sheriff, has been murdered by the unknown "Highway 41 Killer." His mom has unraveled. And a goon named Larry Buskin has been pummeling Minnow behind Neenah High.

Minnow finds support in the company of his roguish grandfather, his loyal pal Mark, and beautiful Opal Parsons, who has her own worries as the first African American student in their school. When the sheriff seems in no hurry to solve the murder, Minnow must seek justice by partnering with unlikely allies and discovering his own courage.

By turns haunting, hilarious, and heartbreaking, Charles Haverty’s debut collection charts the journeys of men, women, and children cast out of familiar territory into emotional terra incognita where people and things are rarely what they seem. These twelve stories are populated with ex-nuns and Freedom Riders, Chaucer scholars and strippers, out-of-work comedy writers and presidents, navigating their way through bedrooms and emergency rooms, backyard burial parties and airplane crash sites, the Piazza San Marco and the post-apocalyptic suburbs of Boston.

A sixteen-year-old boy unearths grisly evidence of his genteel grandfather’s racist past. At his sister’s booze-soaked destination wedding, a recovering alcoholic English professor is finagled into ghostwriting their unreliable father’s nuptial toast. A small town lawyer’s Edenic existence is jeopardized when his wife’s younger brother is arrested for a rash of local burglaries. In the wake of her daughter’s brush with disaster in the Haiti earthquake, a mother finds herself drawn down a dark neighborhood sidewalk toward what might or might not be a dead body. And in the title story—the first of three linked stories—a pious altar boy confronts the twin mysteries of sex and death through the auspices of a classmate’s divorced mother.

There are secrets at the center of each of these daring and original stories—secrets that separate these characters from one another but grow in the mind and the heart, connecting them with all of us.

Published by the Center for Literary Publishing at Colorado State University
Winner of the 2016 Colorado Prize for Poetry

Selected by Tyrone Williams for the 2016 Colorado Prize for Poetry, Exit Theater casts classical elegy, with dazzling formal innovation, into a staggering work of contemporary, political polyphony. Through monologues, performance scripts, and poems of exquisite prosody, Mike Lala examines the human figure—as subject and object, enemy and ally—in the context of a progressively defigured and hostile world. Catullus, Shakespeare, Cy Twombly, and Lydia Delectorskaya echo across engagements with Israeli generals, accused terrorists, State Department employees, nuclear scientists, Saturday Night Live actors, war criminals, malware, and a host of mythic, literary, and half-extant spectral characters. Amid the cacophony, Lala implicates every actor, including himself, in a web of shared culpability vis-à-vis consumerism, representation, speaking, writing, and making art against the backdrop of the endless, open wars of a post–Cold War, post-2001 era. Exit Theater is a debut of and against its time—a book about war, art, and what it means to make art in a time of war. 

Rooted in the harsh, yet beautiful landscape of Alaska, this collection of poems is at once comforting and disquieting, permeated with wisdom, darkness, and resilience. Taken together, the poems form a powerful narrative, as Julie Hungiville LeMay relates a personal story of the recurrence of cancer and interweaves it with an account of her son’s struggle with addiction. In a world of so much pain, her poems ask, how can we find meaning? The answer, often, is nature: among “spruce branches that whisper” and “the yellow joy / of warblers.” Half-found poems that contain lines from John Muir's essays are arranged throughout the book like touchstones, while other poems invoke the spirit of Wordsworth. LeMay’s voice is precise and clear, her lines musical and sonically rich, making this ambitious, wide-ranging book one that readers won’t soon forget.
 

In sparse, powerful lines, Shara Lessley recalls an expat's displacement, examines her experience as a mother, and offers intimate witness to the unfolding of the Arab Spring. Veering from the strip malls and situation rooms of Washington to the markets and mines of Amman, Lessley confronts the pressures and pleasures of other cultures, exploring our common humanity with all its aggressions, loves, biases, and contradictions.

In a rundown neighborhood in the heart of Las Vegas, the Alicia hotel awakens and beckons to the most vulnerable—those with something to hide.

After his parents are killed in a horrific roadside execution, Alvaro flees his home in Colombia and finds work as a line cook at the seedy hotel. Together with his sister, Carmen, he begins to make a new life in the desert, earning a promotion to management along with an irresistible offer to stay at the hotel rent-free. But as beloved photographs go missing, cockroaches seep from the walls, and grotesque strangers wander the corridors, the promise of the Alicia decays into nightmare. Alvaro discovers that the hotel is a small appendage of an enormous creature that feeds on guests and their secrets, one that will eventually bring him face-to-face with the memories he most wants to outrun. Alvaro, Carmen, and their friends decide to cooperate with the creature rather than fight it. But in their efforts to appease it, do they sacrifice too much of themselves?

Haunting and visceral, Extended Stay uses the language of body horror and the gothic to comment on the complicated relationship between the Latinx undocumented experience and capitalism, the erasure of those living and working on the margins, the heavy toll exacted by memory, and the queasy permeability of boundaries that separate the waking world from the world of dreams.

Through a series of variations on the theme of love—unrequited, polyamorous, monogomous, scandalous, adulterous—Desirae Matherly’s Echo’s Fugue explores love in all its failures and delusions. Patterned on the unfinished The Art of Fugue by Johann Sebastian Bach which has been a mystery for centuries, Echo’s Fugue undertakes Bach’s project in prose—the tantalizing numerical correspondences throughout, the repetition of a single theme, the unfinished final piece.
 
Matherly’s essays appear as letters, indexes, narrative, or sentence diagrams, each defying the rules of the blank page. Song lyrics, obsession, Greek mythology, psychology, game theory, and human sexuality form a fragmented narrative about loss and unhealthy attachments. Mimicry of Bach’s fugues leads the author to questions about love, sex, desire, the “Bach or Stravinsky” paradigm in game theory, and relationships considered taboo by mainstream standards.
What authority speaks clearest with regard to love, sex, and desire—and is objectivity even possible? The final essay attempts to resolve this question while echoing the puzzle of Bach’s final unfinished fugue.
 

This is no ordinary novel. An encyclopedia of memory—from A to Z—The End of the World Book deftly intertwines fiction, memoir, and cultural history, reimagining the story of the world and one man’s life as they both hurtle toward a frightening future. Alistair McCartney’s alphabetical guide to the apocalypse layers images like a prose poem, building from Aristotle to da Vinci, hip-hop to lederhosen, plagues to zippers, while barreling from antiquity to the present.
    In this profound book about mortality, McCartney composes an irreverent archive of philosophical obsessions and homoerotic fixations, demonstrating the difficulty of separating what is real from what is imagined.

Finalist, Edmund White Award for Debut Fiction, The Publishing Triangle

Winner, 2021 Miller Williams Poetry Prize

Michael McGriff’s Eternal Sentences bears witness to the world of gravel roads, working-class families, and geographic isolation in poems that illuminate both common occurrence and the territories of the surreal. Here, in rendering every line as a single sentence, McGriff depicts a world seen through fragments, quick leaps, and wild associations. Haunted as much by place and people as by the possibilities of image-making itself, Eternal Sentences is a song for the hidden depots of rural America.

Ends of the Earth uses the landscape of Alaska as a testing ground for love and elegy. It is a poetry collection that contains both lyric responses to the urban Alaska environment and extended sequences that cycle between autobiography, mythic allusion, and the literary archive. In her work, Kate Partridge combines the fresh perspective of a newcomer with explorations of the landscape and lifestyles through allusions to classic literature.

While the poems turn an inquisitive, contemporary lens to the subject of Alaska, elements throughout the book are influenced by twentieth-century writers like Elizabeth Bishop and Marianne Moore. The manuscript also combines personal experience with collaged material from the Epic of Gilgamesh, Walt Whitman's notebooks, and other classic sources, to investigate the ideas of love, isolation, and location. Through humor and observation, Partridge takes a new look at what it means to live in urban Alaska and the world at large.

The fourteen stories in Every Human Love redefine our sense of reality. Set seemingly in the quotidian, these tales veer into the unexpected, the uncomfortable, occasionally the eerie, thrusting characters in crisis into still greater quandaries, where the world of weddings and work, of frustrated hopes and mundane dissatisfactions, collides with a realm of legend, of fairy tale, of nightmare.

Maya Phillips’ stunning debut collection Erou borrows the framework of the traditional Greek epic to interrogate the inner workings of a present-day nuclear family and the role of a patriarch whose life, marriage, and death are imagined as a sort of hero’s journey. Her poems move seamlessly between the worlds of the living and the dead, between myth and reality in a journey that raises its own Homeric question: What is home and how do we locate our place within that home? These are poems of passion and compassion in their reconciliation with what cannot be changed—but can be understood—by those who have been left behind.

Emoticoncert follows intensities and absences across different bodies and scales. Broken up into musical “movements,” each section serves as its own composition. As a whole, the book works as a concert of intensities associated with loss, nationalism, and the slippery boundary between human and animal. Moving across both real and dreamed terrains, Emoticoncert is a dislocated kind of traveling linked by a sense of musicality and a desire to record the intensities that arise in the author’s entanglements with things both present and gone.

In Energy Corridor, Houston, Texas is the macabre avatar for a nation that has systematically stripped political and economic power from the middle and lower classes. In these poems the speaker wrestles with the guilt and complacency of living in the world's wealthiest nation. It is easy in America to do nothing and suckle the trickling down of the rich, but these poems urge that we have a community responsibility to alter the way we act. Through varied lenses, from Jean-Jacques Rousseau to The Texas Chain Saw Massacre, from Goethe to contemporary electronica, from the 1982 Tylenol Murders to the Stanley Cup, these poems assemble the rhetoric of our cultural landscape into a call to arms. We must change our ways.

Winner of the 2004 Cave Canem Poetry Prize

The poems in Eye of Water are derived from the narrator’s experiences in what she calls her “waking.”  She traces inspiration to “the beginning of myth, to Eve in the Garden of Eden” and states: “We could spend our lives unraveling the mistake and discover that life was one great big ‘chore,’ and inescapable. And the path is full of missteps and accidents because we cannot (or prefer not to) remember all that got us to that moment.  My body seems to be a symptom of the past, so no matter who touches me, all the ghosts are waiting there. The ‘chore’ becomes how to survive despite the flaws of our humanness that makes us brutal at times.”

In the poems of The Earliest Witnesses, witnesses need a place to begin-they spiral off from a walk, a church, an orchard, to go into deeper meditation about faith, earth, restraint, desire, and violence. Waldrep’s seventh collection begins where his prior collection, feast gently, left off: “This / is how the witness ends: touch, withdraw; touch again,” according to the opening poem. The status of witnesses is never constant and never settled in this book: sometimes, witnesses “foster,” “touch,” and “stain” the places they inhabit; other times, they befriend, or document, or think. Sometimes, witnesses forget themselves-in questions of blame and responsibility-and sometimes they feel forgotten and unknown. If these are poems of witness, then they are also testators to the craft of seeing: “Can you see this,” the ophthalmologist in “A Mystic’s Guide to Arches” asks over and over again. Here, sight facilitates and impedes desire; it colludes with language itself. “She said, When you say pear, I see p-e-a-r for a second before I see, in my mind’s eye, a pear,” Waldrep carefully records in “[West Stow Orchard Poem (II)].” The desire-poems in The Earliest Witnesses want the thing itself, its image of the mind, and the language that transmutes both thing and image into song.

Private investigator Andy Hayes takes the assignment against his better judgment.

In 1979, a high-profile burglar shot a cop, was apprehended, and then disappeared without ever being prosecuted. Forty years later, after the wounded cop’s suicide, his son, Preston Campbell, is convinced there’s been a cover-up that allowed his father’s attacker to go free. At first, Hayes dismisses Campbell’s outlandish conspiracy theories. But when a mysterious Cold War connection to the burglar emerges, the investigation heats up, and Hayes discovers a series of deaths that seem to be connected, one way or another, to the missing criminal. Nothing seems to add up, though, and Hayes finds himself hurtling headlong down a decades-old path of deadly secrets.

In the midst of cracking the cold case, Hayes has another mystery to solve closer to home: What’s been troubling his younger son, Joe, and why is his ex-wife so eager to have the boy out of her house? Further complicating matters, Hayes learns that another private eye, the captivating but inscrutable Hillary Quinne, is also on the trail of the vanished burglar and needs Hayes’s help. As their professional and personal lives blur, Hayes wonders what he’s gotten himself into, and whether he really wants out.

The Chicano characters in Richard Yañez's debut story collection live in El Paso's Lower Valley but inhabit a number of borders—between two countries, two languages, and two cultures, between childhood and manhood, life and death. The teenaged narrator of "Desert Vista" copes with a new school and a first love while negotiating the boundaries between his family's tenuous middle-class status and the working-class community in which they have come to live. Tony Amoroza, the protagonist of "Amoroza Tires," wrestles with the grief from his wife's death until an unexpected legacy fills him with new faith. María del Valle, "La Loquita," the central character of "Lucero's Mkt.," crosses the border into madness while her neighbors watch, gossip, and try to offer—or refuse—aid. Yañez writes with perfect understanding of his borderland setting, a landscape where poverty and violence impinge on traditional Mexican-American values, where the signs of gang culture strive with the ageless rituals of the Church. His characters are vivid, unique, fully authentic, searching for purpose or identity, for hope or meaning, in lives that seem to deny them almost everything. Yañez's world is that of the Southwestern Chicanos, but the fears and yearnings of his characters are universal. 

In Ethics and the Dynamic Observer Narrator: Reckoning with Past and Present in German Literature, Katra A. Byram proposes a new category—the dynamic observer form—to describe a narrative situation that emerges when stories about others become an avenue to negotiate a narrator’s own identity across past and present. Focusing on German-language fiction from the nineteenth and twentieth centuries, Byram demonstrates how the dynamic observer form highlights historical tensions and explores the nexus of history, identity, narrative, and ethics in the modern moment.
Ethics and the Dynamic Observer Narrator contributes to scholarship on both narrative theory and the historical and cultural context of German and Austrian literary studies. Narrative theory, according to Byram, should understand this form to register complex interactions between history and narrative form. Byram also juxtaposes new readings of works by Textor, Storm, and Raabe from the nineteenth century with analyses of twentieth-century works by Grass, Handke, and Sebald, ultimately reframing our understanding of literary Vergangenheitsbewältigung, or the struggle to come to terms with the past. Overall, Byram shows that neither the problem of reckoning with the past nor the dynamic observer form is unique to Germany’s post-WWII era. Both are products of the dynamics of modern identity, surfacing whenever critical change separates what was from what is.

German science fiction offers a most interesting contribution to the history and criticism of science fiction. William B. Fischer examines two writers, Kurd Lasswitz and Hans Dominik. He concludes that German science fiction is in distinct contrast to the “normative” tradition of modern Anglo-American science fiction and to many other literary traditions as well. His book demonstrates vividly the social relevance and enduring cultural vitality of science fiction.

For most of his life, Ernst Jünger, one of Europe's leading twentieth-century writers, has been controversial. Renowned as a soldier who wrote of his experience in the First World War, he has maintained a remarkable writing career that has spanned five periods of modern German history. In this first comprehensive study of Jünger in English, Thomas R. Nevin focuses on the writer’s first fifty years, from the late Wilhelmine era of the Kaiser to the end of Hitler’s Third Reich. By addressing the controversies and contradictions of Jünger, a man who has been extolled, despised, denounced, and admired throughout his lifetime, Ernst Jünger and Germany also opens an uncommon view on the nation that is, if uncomfortably, represented by him.
Ernst Jünger is in many ways Germany’s conscience, and much of the controversy surrounding him is at its source measured by his relation to the Nazis and Nazi culture. But as Nevin suggests, Jünger can more specifically and properly be regarded as the still living conscience of a Germany that existed before Hitler. Although his memoir of service as a highly decorated lieutenant in World War I made him a hero to the Nazis, he refused to join the party. A severe critic of the Weimar Republic, he has often been denounced as a fascist who prepared the way for the Reich, but in 1939 he published a parable attacking despotism. Close to the men who plotted Hitler’s assassination in 1944, he narrowly escaped prosecution and death. Drawing largely on Jünger’s untranslated work, much of which has never been reprinted in Germany, Nevin reveals Jünger’s profound ambiguities and examines both his participation in and resistance to authoritarianism and the cult of technology in the contexts of his Wilhelmine upbringing, the chaos of Weimar, and the sinister culture of Nazism.
Winner of Germany’s highest literary awards, Ernst Jünger is regularly disparaged in the German press. His writings, as this book indicates, put him at an unimpeachable remove from the Nazis, but neo-Nazi rightists in Germany have rushed to embrace him. Neither apology, whitewash, nor vilification, Ernst Jünger and Germany is an assessment of the complex evolution of a man whose work and nature has been viewed as both inspiration and threat.

“My father bought me from the council for 365 francs,” recalls the narrator in Monica Cantieni’s novel The Encyclopaedia of Good Reasons. She’s a young girl, an immigrant to Switzerland whose adoption is yet to be finalized. When she finally moves into her new home with her new family, she recounts her days in the orphanage and how starkly different her life is now. Her new community speaks German, a language foreign to her, and she collects words and phrases in matchboxes. Though her relationship with her adoptive parents is strained, she bonds with her adoptive grandfather Tat, and together they create the eponymous “Encyclopaedia of Good Reasons.”

Set in the time of the crucial 1970 Swiss referendum on immigration, Monica Cantieni introduces us to a host of colorful characters who struggle to make Switzerland their home: Eli, the Spanish bricklayer; Toni, the Italian factory worker with movie star looks; Madame Jelisaweta, the Yugoslav hairdresser; and Milena, the mysterious girl in the wardrobe. This is a book with a very warm heart, and rarely has a young girl’s narrative been at once so uproariously hilarious and so deeply moving.

Among the brilliant writers and thinkers who emerged from the multicultural and multilingual world of the Austro-Hungarian Empire were Joseph Roth, Robert Musil, and Ludwig Wittgenstein. For them, the trauma of World War I included the sudden loss of the geographical entity into which they had been born: in 1918, the empire was dissolved overnight, leaving Austria a small, fragile republic that would last only twenty years before being annexed by Hitler’s Third Reich. In this major reconsideration of European modernism, Marjorie Perloff identifies and explores the aesthetic world that emerged from the rubble of Vienna and other former Habsburg territories—an “Austro-Modernism” that produced a major body of drama, fiction, poetry, and autobiography.

Perloff explores works ranging from Karl Kraus’s drama The Last Days of Mankind and Elias Canetti’s memoir The Tongue Set Free to Ludwig Wittgenstein’s notebooks and Paul Celan’s lyric poetry. Throughout, she shows that Austro-Modernist literature is characterized less by the formal and technical inventions of a modernism familiar to us in the work of  Joyce and Pound, Dada and Futurism, than by a radical irony beneath a seemingly conventional surface, an acute sense of exile, and a sensibility more erotic and quixotic than that of its German contemporaries. Skeptical and disillusioned, Austro-Modernism prefers to ask questions rather than formulate answers.

Sigrud Olson Nature Writing Award, Notable Children’s Book
Green Earth Book Award, Honor Book

There are days in late winter when the Pacific coast enjoys a brief spell of clear, warm weather. Most of the winter storms have passed and the summer fog has not yet settled in. This is when some coastal communities plan their annual beach clean-ups.  
 
In this sequel to Ellie’s Log and Ricky’s Atlas, Ellie and Ricky travel to the Oregon coast from their home in the Cascade Mountains to help with a one-day beach clean-up. Hoping to find a prized Japanese glass float, they instead find more important natural treasures, and evidence of an ocean that needs its own global-scale clean-up.
 
Ellie and Ricky are amazed by their discoveries at the edge of the world’s largest ocean. Together, they realize the power of volunteering and grapple with the challenges of ocean conservation. In her journal Ellie records her observations of their adventures in her own words and pictures.
 
With charming pen-and-ink drawings and a compelling story, Ellie's Strand makes coastal science exciting for upper elementary school students. It will be a treasured companion for young beach explorers everywhere.

Winner of 2013 John Burroughs Association Riverby Award Honorable Mention

After a huge tree crashes to the ground during a winter storm, ten-year-old Ellie and her new friend, Ricky, explore the forest where Ellie lives. Together, they learn how trees provide habitat for plants and animals high in the forest canopy, down among mossy old logs, and deep in the pools of a stream. The plants, insects, birds, and mammals they discover come to life in colored pen-and-ink drawings.

An engaging blend of science and storytelling, Ellie’s Log also features:

• Pages from Ellie’s own field notebook, which provide a model for recording observations in nature

• Ellie’s advice to readers for keeping a field notebook

• Ellie’s book recommendations Online resources for readers and teachers—including a Teacher’s Guide—are available at ellieslog.org.

Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly colored, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from seventeenth-century Italy called the Academy of Linceans (or Lynxes).

Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection, and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member Galileo Galilei—whom they supported at the most critical moments of his career—to the flora and fauna of Mexico, bees, fossils, and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favorite method—visual description-as a mode of scientific classification.

Profusely illustrated and engagingly written, Eye of the Lynx uncovers a crucial episode in the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits, and more.

"This volume presents an attempt to construct a unified cognitive theory of science in relatively short compass. It confronts the strong program in sociology of science and the positions of various postpositivist philosophers of science, developing significant alternatives to each in a reeadily comprehensible sytle. It draws loosely on recent developments in cognitive science, without burdening the argument with detailed results from that source. . . . The book is thus a provocative one. Perhaps that is a measure of its value: it will lead scholars and serious student from a number of science studies disciplines into continued and sharpened debate over fundamental questions."—Richard Burian, Isis

"The writing is delightfully clear and accessible. On balance, few books advance our subject as well."—Paul Teller, Philosophy of Science

Expanding Hermeneutics examines the development of interpretation theory, emphasizing how science in practice involves and implicates interpretive processes. Ihde argues that the sciences have developed a sophisticated visual hermeneutics that produces evidence by means of imaging, visual displays, and visualizations. From this vantage point, Ihde demonstrates how interpretation is built into technologies and instruments.

"Kuhn has the unmistakable address of a man, who, so far from wanting to score points, is anxious above all else to get at the truth of matters."—Sir Peter Medawar, Nature