front cover of Paraíso
Paraíso
Poems by
Jacob Shores-Argüello
University of Arkansas Press, 2017
Winner, 2017 CantoMundo Poetry Prize

Paraíso, the first book in the new CantoMundo Poetry Series, which celebrates the work of Latino/a poets writing in English, is a pilgrimage against sorrow. Erupting from a mother’s death, the poems follow the speaker as he tries to survive his grief. Catholicism, family, good rum . . . these help, but the real medicine happens when the speaker pushes into the cloud forest alone.

In a Costa Rica far away from touristy beaches, we encounter bus trips over the cold mountains of the dead, drug dealers with beautiful dogs, and witches with cell phones. Science fuses with religion, witchcraft is joined with technology, and eventually grief transforms into belief.

Throughout, Paraíso defies categorization, mixing its beautiful sonnets with playful games and magic cures for the reader. In the process, moments of pure life mingle with the aftermath of a death.
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front cover of Please Bury Me in This
Please Bury Me in This
Allison Benis White
Four Way Books, 2017
The speaker in Please Bury Me in This grieves the death of her father and the loss of several women to suicide while contemplating her own death and the nature of language as a means of human connection that transcends our temporal lives. This book is also concerned with the intergenerational trauma of the children of Holocaust survivors.
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front cover of Previously Owned
Previously Owned
Nathan McClain
Four Way Books, 2022
In his daring sophomore collection, Nathan McClain interrogates his speaker's American heritage, history, and responsibility. Investigating myth, popular culture, governance, and more, Previously Owned connects a villanelle cataloging Sisyphus's circular workflow to a Die Hard persona poem critiquing police brutality and joins complex pastorals to the stunning sequence entitled "They said I was an alternate," which recounts the author's experience serving on jury duty. Though McClain's muscular lyric explores a wide range of topics, the intensity of his attention and the profundity of his care remain constant-the final page describes a young girl in a diner, ringing the bell at the host stand, "just to hear it sing, the same / song, the only song // it knows." Insofar as this collection scrutinizes one's own culpability and responsibility in this country, interested in the natural world and beauty, as well as what beauty distracts us from, it does so in the hopes of reimagining inheritance, of leaving our children a different song.
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front cover of Protection Spell
Protection Spell
Poems
Jennifer Givhan
University of Arkansas Press, 2017

Finalist, 2017 Miller Williams Poetry Prize, edited by Billy Collins

“A poet of great heart and brave directness.”

—Billy Collins

In Protection Spell Jennifer Givhan explores the guilt, sadness, and freedom of relationships: the sticky love that keeps us hanging on for no reason other than love, the inky place that asks us to continue revising and reimagining, tying ourselves to this life and to each other despite the pain (or perhaps because of it). These poems reassemble safe spaces from the fissures cleaving the speaker’s own biracial home and act as witnesses speaking to the racial iniquity of our broader social landscape as well as to the precarious standpoint of a mother-woman of color whose body lies vulnerable to trauma and abuse. From insistent moments of bravery, a collection of poems arises that asks the impossible, like the childhood chant that palliates suffering by demanding nothing less than magical healing: sana sana colita de rana, si no sanas hoy, sanas mañana (the frog who loses his tail is commanded to grow another). In the end, Givhan’s verse offers a place where healing may begin.

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