In Geontologies Elizabeth A. Povinelli continues her project of mapping the current conditions of late liberalism by offering a bold retheorization of power. Finding Foucauldian biopolitics unable to adequately reveal contemporary mechanisms of power and governance, Povinelli describes a mode of power she calls geontopower, which operates through the regulation of the distinction between Life and Nonlife and the figures of the Desert, the Animist, and the Virus. Geontologies examines this formation of power from the perspective of Indigenous Australian maneuvers against the settler state. And it probes how our contemporary critical languages—anthropogenic climate change, plasticity, new materialism, antinormativity—often unwittingly transform their struggles against geontopower into a deeper entwinement within it. A woman who became a river, a snakelike entity who spawns the fog, plesiosaurus fossils and vast networks of rock weirs: in asking how these different forms of existence refuse incorporation into the vocabularies of Western theory Povinelli provides a revelatory new way to understand a form of power long self-evident in certain regimes of settler late liberalism but now becoming visible much further beyond.

With this edition Swallow Press presents two of Anna Akhmatova’s best-known works that represent the poet at full maturity, and that most trenchantly process the trauma she and others experienced living under Stalin’s regime.

Akhmatova began the three-decade process of writing “Requiem” in 1935 after the arrests of her son, Lev Gumilev, and her third husband. The autobiographical fifteen-poem cycle primarily chronicles a mother’s wait—lining up outside Leningrad Prison every day for seventeen months—for news of her son’s fate. But from this limbo, Akhmatova expresses and elevates the collective grief for all the thousands vanished under the regime, and for those left behind to speculate about their loved ones’ fates. Similarly, Akhmatova wrote “Poem without a Hero” over a long period. It takes as its focus the transformation of Akhmatova’s beloved city of St. Petersburg—historically a seat of art and culture—into Leningrad. Taken together, these works plumb the foremost themes for which Akhmatova is known and revered. When Ohio University Press published D. M. Thomas’s translations in 1976, it was the first time they had appeared in English. Under Thomas’s stewardship, Akhmatova’s words ring clear as a bell.

A marvelous, moving new collection of poems, Requiem, Rwanda has its roots in 2006, when Laura Apol made her first trip to Rwanda. Apol’s initial goal was to develop, in conjunction with Rwandan and American colleagues, a project using narrative writing to facilitate healing among young survivors of the 1994 genocide. During the time she spent leading workshops, Apol felt moved to write her own poems, and after the writing-for-healing project ended, she returned to Rwanda several times to continue her creative work. The legacy of the genocide—on the people, on the land itself—makes its presence felt in many of the poems. The poems are also accounts of Apol’s relationships with and understandings of people post-genocide—where their stories go, how they reenter their lives, and how a country that has been deeply wounded by its history continues on. These poems don’t shy away from exploring the complications of being a white woman, a Westerner, and a witness in this setting: Apol relates her sense of compassion, privilege, horror, guilt, voyeurism, obligation, and love. This new collection is a rich testimonial to the strength of a nation and its people. The collection includes a closing essay, "Writer as a Witness."