In her Dorset Prize-winning new collection, Lauren Camp explores the lives of a first-generation Arab-American girl and her Jewish-Iraqi parent. One Hundred Hungers tells overlapping stories of food and ritual, immigration and adaptation, evoking her father's boyhood in Baghdad in the 1940s at a time when tensions began to emerge along ethnic and religious lines. She also draws upon memories of Sabbath dinners in her grandparents' new home in America to reveal how family culture persists.

• All authors desire to get their books into the hands of as many readers as possible. Though it is a publisher’s role to aid and assist authors in marketing and publicity for every book, the role of any publisher necessarily takes a back seat to your all-important efforts. Nobody else can do this essential work as effectively as you can.

• This handbook will prepare you to take the lead in executing your own publicity plan. It is designed to guide you, step-by-step, through the process of making a success of your book. It’s jam-packed with the essential tools, ideas, and resources you’ll need to achieve that goal, from an independent publisher who has provided a launching pad for authors like Ilya Kaminsky, Aimee Nezhukumatathil, Jennifer Michael Hecht, Maggie Smith, Matthew Zapruder, and 250 others.

• Thoroughly and joyfully embrace the notion of self-promotion, knowing that it’s the book—your book—you’re breathing life into. You wouldn’t have written and published your book if you didn’t believe in it, and in yourself, as a writer with important artistic talent to share. Your publisher believes in you. Your family and friends believe in you. Your current readers believe in you. And future readers will believe in you.

Jeffrey Levine, Publisher, Tupelo Press

You’ll learn the essentials for book marketing as an indie author in a digital age:
• Develop your author image and brand across social channels
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• Build an attractive, searchable website—no coding skills needed
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• Ensure your book is on bookstore and library shelves
• Practice mindful literary citizenship
• Learn from Tupelo authors (who were in your shoes not too long ago!)

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.

Korea continues to grapple with the shared memory of its Japanese and US occupations. The poems in Ordinary Misfortunes incorporate actual testimony about cruelty against vulnerable bodies—including the wianbu, euphemistically known as “comfort women”—as the poet seeks to find places where brutality is overcome through true human connections. Emily Jungmin Yoon asks Why do we write poems amid such violence? What can I, and what can poetry, do? Her response to those tough questions is a sequence of reverberating poems that blend documentary precision with impassioned witness, bringing to bear both scholarship and artistry.

Part miracle, part oracle, in these poems lava speaks “with the focus of a burning glass,” lighting lyric core samples through geo-historical and cultural texts about Iceland. Shifting the ground so “nouns are never still,” the lava reveals how language itself is a record of collisions: poem as matter, sound as forge, form as friction. And what does it mean to be human in the face of such ancient forces, especially as climate change unsettles the earth that anchors us? By the light of the “sphere’s credo,” can we, too, be remade?

Soft spoken and intuitive, these deeply reflective poems demonstrate the miraculous common currency of thinking, expressed like confidences shared with a reader: “the latent world wavers between us. . . .” Highly visual and verbally chromatic, eschewing punctuation and rigorously open-ended, these poems pursue intimate recognitions in compact forms energized by intuitive jumps.