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.”

Duties of the Spirit is comprised of deeply moving, lyrical and unforgettable explorations of the joys and fears that come with growing older in America.

“These poems are stamped with an energetic and outgoing attentiveness to the world. This, so much more than just the humming examination of the self, is what makes writing a sacred thing. Who does this is a true poet, and few do it better than Patricia Fargnoli.”
— Mary Oliver

Hallowed features selections from Patricia Fargnoli’s four previous books along with twenty-four new poems. Here is a celebration of poetic endurance, filled with quietly distinctive cadences and images closely seen, now freshly understood.

A radiant, bravely reflective new book by a poet loved for poems that sing like psalms as they confront the challenges of persisting through time. Following her award-winning volume Duties of the Spirit (also available from Tupelo Press), the recently retired Poet Laureate of New Hampshire reaches further and delves deeper than ever in Then, Something.

Farris warns us, “These are not stories one can hand to another and afterward ask: did your soul move like the peristalsis inside your gut?” Instead of capitalizing on the satisfying and familiar conventions of narrative, she uses the unclassifiable text, the monstrous text, and unruly prose to explore the ways language, as we know it, limits what is possible in our thinking about sexuality. For Farris, genre – with its established conventions, its repertoire of restrictions – and gender are inexorably linked. Indeed, she shows us that our most familiar categories of identity are embedded within the very texture of language itself. She reveals form, genre, and even grammar as the foundation of the social order, that alterity which speaks through us, and at the same time, defines us.

There has been no anthology in English dedicated to the poetics of the great generation of Russian modernists. For a group of poets so widely admired, relatively little seems known about their philosophy of poetry and their poetic influences, and although there is tremendous aesthetic diversity in this group, they have more in common than many readers assume. Russian poetry was a small world, made even smaller by the arrests, disappearances, pogroms, famines, assassinations, and political conflagration of the revolutionary era, and literary differences were often overcome by a mutual sense of historic cataclysm. This anthology’s structure is like textile, with many common threads intertwining, doubling back, sometimes unraveling—creating a matrix of poetic conversation: Mayakovsky on Khlebnikov, Pasternak on Mayakovsky, Tsvetaeva on Pasternak, Brodsky on Tsvetaeva, Akhmatova on Mandelstam. Shared themes range from expected (the word) to serendipitous (the ocean). Above all these poets are obsessed with proximity—to God, to nature and place, to poetic predecessors, to language (their own and others), and always, forever, to the inexpressible.

During the post-civil war era, General Francisco Franco’s fascist government forbade the people of Spain’s Catalonia region from speaking, reading, and writing in Catalan, a crime punishable by imprisonment or execution. Throughout these years, the work of Catalan poets could only be found via the underground. Marlon L. Fick and Francisca Esteve traveled to meet each of the poets featured in this anthology, embarking on the long road of joy, pain, and friendship that is the work of translation. These fourteen poets, like fourteen blackbirds, provide keen angles of perception in beautiful and lyrical poetry, sometimes ecstatic, sometimes nostalgic, and always engaging, until now almost entirely unknown to U.S readers.

“Annie Finch is an American original, a master of control who shows no fear of excess, and none of quietness either. With a perfect-pitch ear for the American tongue, she is a formalist as much in the tradition of Robert Duncan and Bernadette Mayer as of Hart Crane and John Berryman. Calendars is a marvelous book, filled with poems whose directness and simplicity are deceptive — they have depths and delights that appear to go on forever.” —Ron Silliman

Deborah Flanagan’s prizewinning new chapbook is populated by a menagerie of historic personages — celebrities and scientists, political and artistic luminaries, including George Washington, Houdini, Samuel Beckett, Peggy Guggenheim, Francis Bacon, Casanova, and Lord Byron’s daughter, the mathematician Ada Lovelace. Juggling voices as she romps among her personae, the poet revisits and revises our complicated connections to the past in ways orthodox history can’t possibly do: coding and decoding her stories while bursting out of the boxes into which we try to fit meaning.

In the late nineteenth century, in Washington Square, two children play with a red balloon… and so begins the strange romance between Daniel, beautiful and tiny, and Grace, known as The Fat Princess, an orphaned girl whose enormous girth matches her wealth. Each wishes for a life of the mind, for artistic mastery, to be read and to be understood — most of all by each other — but through their lives, the couple only occasionally meet, until Daniel uncovers Grace’s great secret in her House of Death.

Carol Frost’s poems have a classical grace and elegance, but there is molten emotion beneath their fluid surfaces. The poetic sequences in Entwined give a reader three perspectives on human awareness: as a lexicon of abstractions (Time, Beauty, Adultery, Scorn, and so on) and what the poet calls “moral dreaming”; as a voyage from the soul’s dark night into a new experience of light among the bays and shoals of Florida’s fecund gulf coast; and as a meditation on memory and mortality, through an encounter with a mind in decline — a parent succumbing to dementia. Written over twenty-five years in three series, Carol Frost’s twelfth book of poems is formally elegant but fierce in feeling, boldly exploring lineation, an elastic syntax, and inventive punctuation to reach an extraordinary sensory intensity.

“I write from a continuous space of erasure. Poetry was the one way that I was able to hold onto…my history, geography, and language.” — Craig Santos Perez, contributor
In this groundbreaking anthology of Indigenous poetry and prose, Native poems, stories, and essays are informed with a knowledge of both what has been lost and what is being restored. It offers a diverse collection of stories told by Indigenous writers about themselves, their histories, and their present. It is a celebration of culture and the possibilities of language.
Featuring forty-four poets, including Ishmael Hope, Bojan Louis, Ruby Murray, Simon Ortiz, Leslie Marmon Silko, Luci Tapahonso, Joy Harjo, dg okpik, Sherwin Bitsui, Heid E. Erdrich, Layli Long Soldier, and Orlando White.
Original influence essays by Diane Glancy on Lorca, Chrystos on Audre Lorde, Louise Erdrich on Elizabeth Bishop, LeAnne Howe on W. D. Snodgrass, Allison Hedge Coke on Delmore Schwartz, Suzanne Rancourt on Ai, and M. L. Smoker on Richard Hugo, among others.
And, a selection of resonant work chosen from previous generations of Native artists.
“There really is no better anthology out there that collects indigenous poets publishing from 1960 to the present.” — Dean Rader, co-editor