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A debut poetry collection drawing on horror-movie tropes to examine the body—both its traumas and its possibilities.

Scream / Queen, CD Eskilson’s debut poetry collection, examines queerness, mental illness, and transgender identity through the lens of thrillers and B movies. The Creature from the Black Lagoon, Michael Myers, and the Headless Horseman are just a few of the fright-film villains and monsters that populate this book.

Eskilson’s formally innovative poems document how a body—a nonbinary transgender body, a chronically ill body, a body carrying trauma—can be understood, accepted, and healed even in a violent sociopolitical climate. Drawing on the language and images of horror cinema, the poems’ speakers find strength and the means to survive both family legacy and the pain inflicted on them: “I want to behemoth, be the biggest / violence in the galaxy,” says one who thinks about Godzilla and dreams of “learning how to roar.”

Though an atmosphere of trans panic and state legislation against trans bodies pervades the book, Scream / Queen ultimately conjures a world of hope and tenderness through connection and care. It celebrates all the body’s possibilities: the glorious and the monstrous. As a werewolf in the book says, “I kiss the moon; it took so long / to get here.”

Through the weaving of documentary poetics, first-hand accounts, dialogue, and lyric, these poems tell the story of co-running a school at the Ocethi Sakowin Camp at Standing Rock. 

Something Small of How to See a River interrogates the idea of narrative. Who gets to tell a story and what does it mean when the official story, the story told by the governor, the police, or the local media, is a fundamentally dishonest one? The poems collected here meditate on failure: how systems fail us and our environment, how whiteness fails to hold itself accountable, how future generations and the land are being failed—and how, in the face of all this, the Standing Rock movement was not a failure. At the heart of this collection is the strength, care, and radical joy of the movement, which shines through and against the violence.

This book debuts selected poetry by Kim Nam-ju (1946–1994) in English translation, along with the original Korean. Referred to as the “Che Guevara of South Korea,” and self-described a “warrior poet,” Kim Nam-ju remains, to this day, an enduring voice of the 1970s and 80s cultures of anti-authoritarian resistance in South Korea. Kim was arrested in 1979 for his involvement with the “South Josǒn” National Liberation Front, a leftist underground group organizing against the Yushin regime. Kim wrote prolifically while in prison (1979-1988), at times by etching his poems into scraps of foil, milk carton, or cigarette packages. The work he produced in prison alone totals around 360 poems. This bilingual volume selects 65 poems from Kim's oeuvre, sampling across many different chapters of the poet’s career. Readers will find autobiographical reflections on his childhood, love poems, missives from the prison cell, commemorations of the Kwangju Uprising, the poet’s calls to arms, and more. 

이 책은 김남주 시인(1946~1994)의 시 65편을 한국어 원문과 함께 영문 번역으로 처음 선보인다. ‘한국의 체 게바라’로 불리며 스스로를 ‘전사 시인’이라 칭했던 김남주는 오늘날까지도 한국의 1970·80년대 반독재 저항운동을 대표하는 사라지지 않는 목소리로 남아 있다. 김남주는 유신정권에 맞서 결성된 좌파 지하조직 ‘남조선민족해방전선준비위원회’에 가담한 혐의로 1979년에 체포되었다. 1979년부터 1988년에 이르는 수감 기간에도 꾸준히 창작 활동을 이어갔으며, 때로는 은박지 조각이나 우유곽, 담뱃갑 등에 시를 새겨 집필하기도 하였다. 이 시기에 쓴 작품만 해도 360여 편에 이른다.  이 영역시집은 시인의 전체 작품 중에서 65편의 시를 엄선하여 시인의 생애와 창작 활동의 다양한 시기를 아우르는 시적 여정을 한눈에 보여준다. 독자들은 시인의 어린 시절에 대한 자전적인 회고, 사랑의 시, 옥중 서한,  5·18 광주항쟁을 추모하는 시, 민중의 투쟁을 촉구하는 시 등 다양한 작품을 만나볼 수 있을 것이다. 

English-Korean Bilingual Edition 
영-한 이중언어판

This book is published with the support of the Literature Translation Institute of Korea (LTI Korea)

A powerful meditation of the echoes of history and the never-ending struggle for sovereignty

Sovereignty unfolds over two parallel timelines. In present-day Oklahoma, a young Cherokee lawyer, Sarah Ridge Polson, and her colleague Jim Ross defend the inherent jurisdiction of Cherokee Nation in the U.S. Supreme Court when a non-Indian defendant challenges the Nation’s authority to prosecute non-Indian perpetrators of domestic violence. Their collaboration is juxtaposed with scenes from 1835, when Cherokee Nation was eight hundred miles to the east in the southern Appalachians. That year, Sarah’s and Jim’s ancestors, historic Cherokee rivals, were bitterly divided over a proposed treaty with the administration of Andrew Jackson, the Treaty of New Echota, which led to the nation’s removal to Oklahoma on the infamous Trail of Tears.
 
A direct descendant of nineteenth-century Cherokee leaders John Ridge and Major Ridge, Mary Kathryn Nagle has penned a play that twists and turns from violent outbursts to healing monologues, illuminating a provocative double meaning for the sovereignty of both tribal territory and women’s bodies. Taking as its point of departure the story of one lawyer’s passionate defense of the rights of her people to prosecute non-natives who commit crimes on reservations, Sovereignty opens up into an expansive exploration of the circular continuity of history, human memory, and the power of human relationships.