May Kennedy McCord, lovingly nicknamed “First Lady of the Ozarks” and “Queen of the Hillbillies,” spent half a century sharing the history, songs, and stories of her native Ozarks through newspaper columns, radio programs, and music festivals. Though her work made her one of the twentieth century’s preeminent folklorists, McCord was first and foremost an entertainer—at one time nearly as renowned as the hills she loved.

Despite the encouragement of her contemporaries, McCord never published a collection of her work. In 1956, Vance Randolph wrote to her, “If you didn’t have such a mental block against writing books, I could show you how to make a book out of extracts from your columns. It would be very little work, and sell like hotcakes. . . . I could write a solemn little introduction, telling the citizens what a fine gal you are! The hell of it is, most of the readers know all about you.” In Queen of the Hillbillies, editors Patti McCord and Kristene Sutliff at last bring together the best of McCord’s published and previously unpublished writings to share her knowledge, humor, and inimitable spirit with a new generation of readers.

In lines electrified with lyricism and wit, Donald Finkel carves a clearing out of the backyard brush and the intellectual brambles of existence.

Whether he writes a short lyric or a long experimental series, Finkel relies on concrete images—a breeze through grass, a cigarette in a piano player’s hand—to ground his central questions about the clash of order and chaos in our everyday lives.

He delights in naming weeds and towering trees, cars and streets. Yet, in each poem, there is a constant tension between the actual wind and the words we must use to convey the wind’s force.

Working fluently in formal lines and in free verse, he can write with equal authority of butchers or great painters, aged bookkeepers or schizophrenics, Greek gods or house cats. In this new collection, Finkel has given us the priceless keepsakes, the best gifts from the clearing his words have won.

Hatif Janabi’s poems are passionate, jolting, apocalyptic, and painful. They deal with war and death, perception and truth, drawing from his family life, his exile in Poland, the Gulf War, violence in Iraq, and his experience in the United States.

The speaker in many of Janabi’s poems moves from a confrontational stance to one of resigned desperation, and from coyness to deep longing, where, occasionally, hope surfaces. The associative processes and the often bizarre surreal imagery he employs are very effective in expressing his profound sense of political and spiritual alienation. Janabi is among a generation of Arab poets who, because of censorship, can speak only obliquely about the harsh reality of their lives. In these poems he has created symbolic landscapes that attempt to reveal the political, social, and psychological stresses with which suffering people live.