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Volume I begins with a generous selection of Native American materials, then spans the years from the establishment of the American colonies to about 1900, a world on the brink of World War I and the modern era. Part One focuses on poetry from the very beginnings through the end of the eighteenth century. The expansion and development of a newly forged nation engendered new kinds of poetry. Part Two includes works from the early nineteenth century through the time of the Civil War. The poems in Part Three reflect the many issues affecting a nation undergoing tumultuous change: the Civil War, immigration, urbanization, industrialization, and cultural diversification.

Such well-recognized names as Anne Bradstreet, Edward Taylor, Phillis Wheatley, Edgar Allan Poe, Herman Melville, Walt Whitman, Emily Dickinson, and Stephen Crane appear in this anthology alongside such less frequently anthologized poets as George Horton, Sarah Helen Whitman, Elizabeth Oakes-Smith, Frances Harper, Rose Terry Cooke, Helen Hunt Jackson, Adah Menken, Sarah Piatt, Ina Coolbrith, Emma Lazarus, Albery Whitman, Owl Woman (Juana Manwell) Sadakichi Hartmann, Ernest Fenollosa, James Weldon Johnson, Paul Laurence Dunbar, and—virtually unknown as a poet—Abraham Lincoln. It also includes poems and songs reflecting the experiences of a variety of racial and ethnic groups.

The New Babel: Toward a Poetics of the Mid-East Crises evokes and investigates—from a Jewish American perspective and in the forms of poetry, essays, and interviews—the Israeli-Palestinian conflict, America’s involvement as both perpetrator and victim of events in the Middle East and Afghanistan, and the multiple ways that poetics can respond to political imperatives.

The poems range from the immediately lyrical to the experimental forms of the “Apple Anyone Sonnets” series, which relies heavily on the Arabic but has Shakespeare as its scaffolding.

In the essays, Schwartz calls on the power of poetry—and of some of the great poets in the Arabic, Jewish, and American traditions—to help rethink the battle lines of the contemporary Mid-East, with the Jewish philosopher Martin Buber looming large.

The interviews provide Schwartz’s discussions with Israeli poet and activist Aharon Shabtai, political philosopher Michael Hardt, and the late, great American poet Amiri Baraka.

In these creative, analytical, and conversational moments, Leonard Schwartz rethinks the battle lines of the contemporary Middle East and calls on the power of language as the essence of our humanity, endlessly fluid, but also the source of an intentional confusion there is a necessity to counter.

The New Desert Reader brings together a historical cross section of writing about the American Southwest in selections that demonstrate how thinking about American deserts has changed from the earliest times to the present day. Beginning with the centuries-old legends of the Tohono O’Odham Indians, it moves through the foresighted observations of John Wesley Powell, one-armed explorer of the Grand Canyon; continues with the delicate appreciations of Mary Austin and Joseph Wood Krutch; includes examples of the keen activist writings of Wallace Stegner and Edward Abbey; and finishes with such contemporary desert writers as Tony Hillerman and others.
A slow change in outlook dominates the book, as attitudes shift from viewing the desert as a place to be despised or exploited to an appreciation of it as a special place, an arena of highly complex natural communities, and a wild refuge for the human body and soul. Comprehensive and brightly informative, The New Desert Reader will be invaluable to anyone interested in the history, literature, and beauty of North America’s treasured desert places. 

The first edition of May’s Short Story Theories (1976) opened with an essay entitled “The Short Story: An Underrated Art.” Almost two decades later, the short story suffers no such slight. Publishers and critics have become increasingly interested in the form, which has enjoyed a renaissance led by such writers as Raymond Carver, Tobias Wolff, Ann Beattie, Bobbie Ann Mason, and Mary Robison. An important part of this revival of interest, Short Story Theories has continued to attract a strong and loyal audience among students and teachers.

The New Short Story Theories includes a few basic pieces from the earlier volume—Poe’s Hawthorne review, Brander Matthew’s extension and formalization of Poe’s theories, and essays by Randall Jarrell, Elizabeth Bowen, and Nadine Gordimer—but most of the essays are new to the collection.

Addressing problems of definition, historical considerations, issues of technique, and cognitive approaches, essays include:
“The Tale as Genre in Short Story Fiction,” by W. S. Penn
“O. Henry and the Theory of the Short Story,” by Suzanne C. Ferguson
“On Writing,” by Raymond Carver
“From Tale to Short Story,” by Robert F. Marler
“A Cognitive Approach to Storyness,” by Susan Lohafer

May’s new collection will continue to highlight the short story, to provoke debate, and to enrich our experience of a demanding and rewarding literary form.

The first African American fiction writer to earn a national reputation, Charles W. Chesnutt remains best known for his depictions of Southern life before and after the Civil War. But he also produced a large body of what might best be called his “Northern” writings, and those works, taken together, describe the intriguing ways in which America was reshaping itself at the turn of the last century.

The Northern Stories of Charles W. Chesnutt collects for the first time eighteen Chesnutt stories—several of them first appearing in Northern magazines or newspapers—that portray life in the North in the period between the Civil War and World War I. Living in Ohio from 1883 until his death in 1932, Chesnutt witnessed and wrote about the social, cultural, and racial upheavals taking place in the North during a crucial period of American history. His Northern stories thus reflect his vision of a newly reconstituted America, one recommitted to the ideals of freedom and economic opportunity inherent in our national heritage.

The stories, compiled and edited with critical introductions to each by Professor Charles Duncan, offer a new Chesnutt, one fascinated by the evolution of America into an urban, multiracial, economically driven democracy.

The Northern Stories of Charles W. Chesnutt presents richly imagined characters, both black and white, working to make better lives for themselves in the turbulent and stimulating universe of the turn-of-the-century North. Indeed, Chesnutt stands virtually alone as the first African American chronicler of Northern culture, anticipating such figures as James Weldon Johnson, Langston Hughes, Ralph Ellison, James Baldwin, and Toni Morrison. This critical edition of The Northern Stories of Charles W. Chesnutt is a significant addition to the body of African American literature.

In The Novel of the Future, Anaïs Nin explores the act of creation—in film, art, and dance as well as literature—to chart a new direction for the young artist struggling against what she perceived as the sterility, formlessness, and spiritual bankruptcy afflicting much of mid-twentieth-century fiction. Nin offers, instead, an argument for and synthesis of the poetic novel and discusses her own efforts in this genre as well as its influence on the development of such writers as D. H. Lawrence, Henry Miller, Lawrence Durrell, Marguerite Young, and Djuna Barnes. In chapters devoted to the pursuit of the hidden self, the genesis of fiction, and the relationship between the diary and fiction, she addresses the materials, techniques, and nourishment of the arts, and the functions of art itself.

Originally published in 1968, The Novel of the Future remains a classic among both creative writers and literary scholars. This new Swallow Press edition includes an introduction by Nin biographer Deirdre Bair.

Who killed Laius? Most readers assume Oedipus did. At the play’s end, he stands convicted of murdering his father, marrying his mother, and triggering a deadly plague. With selections from a stellar assortment of critics including Walter Burkert, Terry Eagleton, Michel Foucault, René Girard, and Jean-Pierre Vernant, this book reopens the Oedipus case and lets readers judge for themselves. The Greek word for tragedy means “goat song.” Is Oedipus the goat? Helene Peet Foley calls him “the kind of leader a democracy would both love and desire to ostracize.” The Oedipus Casebook readings weigh the evidence against Oedipus, place the play in the context of Greek scapegoat rites, and explore the origins of tragedy in the festival of Dionysus. This unique critical edition includes a new translation of the play by distinguished classics scholar Wm. Blake Tyrrell and the authoritative Greek text established by H. Lloyd-Jones and N. G. Wilson.

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices,and to promoting contactand discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non-student alike. The Offbeat’s goal is to provide an alternative literary outlet for all Michigan writers.

 

The Offbeat literary collection series is devoted to publishing a diverse selection of voices and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State University students, with the goal of providing an alternative literary outlet for Michigan writers.  
      This edition features an interview with noted author, W. S. Penn, plus a selection of original fiction, prose, and poetry from a variety of authors, including Daniel Klass, Timothy Carmody, Joshua Moon, Robert Brady, Mark Geralds, Andrew Hungerford, Jeremy Campbell, Gavin Craig, Ashley Honeysett, Andy McGashen, Colleen Farrow, Crystal Passmore, Jogn Garcia, De'Juan McDuell, Gregory Wright, Bailey Follette, and Brandon Connell.  
 

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices, and to promoting contact and discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non student alike. The Offbeat’s goal is to provide an alternative literary outlet for all Michigan writers.

 

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices, and to promoting contact and discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non-student alike. The Offbeat' goal is to provide an alternative literary outlet for all Michigan writers. The Offbeat presents, encourages, and explores creative works in fiction, poetry, drama, essay, criticism, image, and that which defies categorization. Its purpose is to call attention to voices both emerging and established, including those that have been previously overlooked.

 

Noise from Typewriter Keys is the tenth volume in the independent literary series, The Offbeat, devoted to publishing a diverse collection of voices, and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State Undergraduates, and is centered in East Lansing. The mission of The Offbeat is to provide an alternative literary outlet for writers from Michigan and beyond, and to call attention to voices both emerging and established.
     The Offbeat: Noise from Typewriter Keys is an ensemble of voices and eruptions heard from the inside and out. This volume includes a wide variety of writers and focuses on the ambition of new creation. This part of the series seeks to capture movement of a writer while exploring the varied sounds that come from imagination.

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices, and to promoting contactand discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non-student alike. The Offbeat's goal is to provide an alternative literary outlet for all Michigan writers.

 

The Offbeat is a literary collection series devoted to publishing a diverse selection of voices and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State University students, with the goal of providing an alternative literary outlet for Michigan writers.
     This edition contains work by Steven Rajewski, Erin Ashmore, Neil Kennedy, Victoria Henderson, Mary Helmic, Rebecca Klein, Jamie Miller, Ken Sleight, Laura Tisdel, and many others.

 

With Abandon is the eighth volume in the independent literary series, The Offbeat, devoted to publishing a diverse collection of voices, and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State Undergraduates, and is centered in East Lansing. The mission of The Offbeat is to provide an alternative literary outlet for writers from Michigan and beyond, and to call attention to voices both emerging and established.
     The Offbeat: With Abandon features a wide array of writing that cuts across genres, highlighting the best work by authors ranging from professional journalists to undergraduate writers. Thrown into the mix are voices from professors of literature, graduate students in creative writing, and even a few of our editorial staff. In this volume, writing is an act of faith, a documentation of the joy and terror of life, and above all, an act of witness.

The Open-Winged Scorpion and Other Stories is a collection of ten powerful Bengali short stories, all translated into English for the first time. Hailing from Murshidabad district in West Bengal, Abul Bashar pens stories about precarious lives of marginal Muslim communities in that district. His tales are shot through with the fears, dreams, hopes, and anxieties of the communities he portrays: their poverty and piety, the sensuality of the ancient mythologies they reimagine and remember, the rituals that permeate their lives, and the ever-present influence of the River Padma, which brings the silt that makes the land flourish—and the floods that destroy the crops and the people who plant them. The complex dynamics of the trivial and the transcendental emerge in Bashar’s stories, as the tales become no less than an archive and richly imagined historical testimony of an abject community relegated to the margins of the society too focused on the future to remember people who are struggling in the here and now.
 

Oildale native, Gerald Haslam, doesn’t like it when folks dismiss the Central Valley as boring and flat. In this collection of essays, he argues that it is California’s heartland and economic hub. In addition, the valley has produced a crop of gifted writers. These nineteen essays range from reminiscences of childhood and adolescence to a portrait of Mexican-Americans and their position in the Valley’s society to a moving essay about having the author’s aging father come to live with the family. Even if you have never lived in the Valley, reading this book will give you an entirely new perspective the next time you drive into it.

“The stereotype spells death to the imagination by shrinking all possibilities to one. Generalizations encourage us to stop considering what can be.” —from the Introduction

The sheer number of different ethnic groups and cultures in the United States makes it tempting to classify them according to broad stereotypes, ignoring their unique and changing identities. Because of their growing diversity within the United States, Latinas and Latinos face this problem in their everyday lives. With cultural roots in Mexico, Puerto Rico, Cuba, the Dominican Republic, or a variety of other locales, Hispanic-origin people in the United States are too often consigned to a single category. With this book Blas Falconer and Lorraine M. López set out to change this.

The Other Latin@ is a diverse collection of essays written by some of the best emerging and established contemporary writers of Latin origin to help answer the question: How can we treat U.S. Latina and Latino literature as a definable whole while acknowledging the many shifting identities within their cultures? By telling their own stories, these authors illuminate the richness of their cultural backgrounds while adding a unique perspective to Latina and Latino literature.

This book sheds light on the dangers of abandoning identity by accepting cultural stereotypes and ignoring diversity within diversity. These contributors caution against judging literature based on the race of the author and lament the use of the term Hispanic to erase individuality. Honestly addressing difficult issues, this book will greatly contribute to a better understanding of Latina and Latino literature and identity.

Philip Garrison keeps his eyes and ears open. And he also keeps an open mind. It helps that he’s bilingual, because a lot of his neighbors these days speak Spanish and he likes to know what’s on their minds. Like his epileptic friend Pera, who asks him to write a note in English to explain to her supervisor that she probably shouldn’t be cooking on a grill in case she has a seizure and falls into the flames. When Garrison asks her if she has a work permit, she replies,“Bueno. El que nunca vence.” The kind that never expires. That’s the sort of response he doesn’t forget.

There is a river, Garrison writes, that runs from Oaxaca to British Columbia. El flujo migratorio, he calls it. The migratory flow. But it isn’t a conventional sort of river. “It is made of neither rock nor water nor wind but only of motion, of momentum. And yet . . . it is the most compelling feature in the entire U.S. West,” he claims. Garrison has his feet planted firmly in the middle of this river of humanity, wondering why America is trying to build a wall along an actual river, the Rio Grande, to keep us separated from the mexicanos. All borders, he writes, exist mostly in the imagination—a point he proves decisively in this delightful book.

Garrison is an award-winning writer and this book shows why. Warm, witty, self-deprecating, and charming (the list could go on), this collection illuminates the lives of these migrants, whether at the local food bank in Ellensburg, Washington, in the streets of Michoacán, or everywhere in between.

In 1905, a young Jewish immigrant from Luxembourg founded an electrical supply shop in New York. This inventor, writer, and publisher Hugo Gernsback would later become famous for launching the first science fiction magazine, Amazing Stories, in 1926. But while science fiction’s annual Hugo Awards were named in his honor, there has been surprisingly little understanding of how the genre began among a community of tinkerers all drawn to Gernsback’s vision of comprehending the future of media through making. In The Perversity of Things, Grant Wythoff makes available texts by Hugo Gernsback that were foundational both for science fiction and the emergence of media studies.

Wythoff argues that Gernsback developed a means of describing and assessing the cultural impact of emerging media long before media studies became an academic discipline. From editorials and blueprints to media histories, critical essays, and short fiction, Wythoff has collected a wide range of Gernsback’s writings that have been out of print since their magazine debut in the early 1900s. These articles cover such topics as television; the regulation of wireless/radio; war and technology; speculative futures; media-archaeological curiosities like the dynamophone and hypnobioscope; and more. All together, this collection shows how Gernsback’s publications evolved from an electrical parts catalog to a full-fledged literary genre.

The Perversity of Things aims to reverse the widespread misunderstanding of Gernsback within the history of science fiction criticism. Through painstaking research and extensive annotations and commentary, Wythoff reintroduces us to Gernsback and the origins of science fiction.

In Giovan Francesco Straparola’s The Pleasant Nights, a group of men and women gather together in a villa on the Venetian island of Murano during Carnival to sing songs, tell tales, and solve riddles. A sixteenth-century bestseller, The Pleasant Nights is today a fundamental text for European folk and fairy tale studies, for alongside triumphal and tragic love stories, comical tales of practical jokes, and accounts of witty retorts, Straparola (1480? – 1557?) placed some of the first fairy tales printed in Europe. Straparola’s eloquent female narrators and the fairy tales they recount became a model for a generation of French women writers in Parisian salons, who used the fairy tale to interrogate the gender norms of their day. This book presents the first new and complete English translation of Straparola’s tales and riddles to be published since the nineteenth century.

Hairston has constructed a full personal, cultural and literary biography for d’Aragona, using newly discovered letters, archival material of other kinds, and contemporary theory about gender in women’s writing. Footnotes establish the intricacy of Tullia’s intellectual networks and her courting of intellectuals in rhyme. Hairston includes poems written to d’Aragona, including Girolamo Muzio’s long pastoral, Tirrhenia. She addresses with tact the question of how sexual Tullia’s relationships were with her various interlocutors. At times, as she says, one just can’t know, but that the issue is much less important than the poems themselves. I agree wholeheartedly. This is the editor Tullia has been waiting for: an indefatigable researcher, a creative biographer, and a precise and appreciative literary critic.
—Ann Rosalind Jones
Esther Cloudman Dunn Professor of Comparative Literature, Smith College

The figure of Tullia d’Aragona has long fascinated readers as the prototype of the “honest courtesan”, a woman who successfully exploited her physical and intellectual charms to win the adoration and respect of the Italian cultural elite. With Julia Hairston’s richly annotated edition of her collected verse, the product of more than a decade of scholarship, d’Aragona finally comes into focus also as poet. She emerges in this volume as one of the most distinctive protagonists in a key transitional moment in Italian literary history, when the aristocratic tradition of Petrarchist lyric began to be reshaped and democratized by its encounter with print.
—Virginia Cox
Professor of Italian, New York University

Two friends, a lifetime of letters, and an intimate look at a literary icon

Carl Sandburg first encountered Kenneth Dodson through a letter written at sea during World War II. Though Dodson wrote the letter to his wife, Letha, Sandburg read it in tears and told her, "I've got to meet this man." Composed primarily of their correspondence that continued until Sandburg's death in 1967, The Poet and the Sailor is a chronicle of the deep friendship that followed. Ranging over anything they found important, from writing to health and humor, the letters are arranged by Richard Dodson and are accompanied by a foreword from Sandburg's noted biographer, Penelope Niven.

In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition which cannot properly be situated within the Romantic-Symbolist tradition dominating the early twentieth century.

The Prendergast Letters Collection, one of the noteworthy manuscript collections at Boston College's John J. Burns Library, provides an account of the experiences of an ordinary family in County Kerry, Ireland, from 1840 to 1850. The letters include myriad details of the lives of family members and neighbors, reports of weather, agriculture, and local events and economy, along with commentary on matters of national importance such as politician Daniel O'Connell's movement for the Repeal of the Act of Union.

Most important, the letters offer a rare contemporary, firsthand account of Ireland's an Gorta Mor, the Great Famine that began with the failure of the potato crop in 1845. Letters written in the months and years following the announcement of the first crop failure provide insight into not only the sufferings of one family but also the response of the community and nation as this crisis transformed Ireland.

James and Elizabeth Prendergast were the parents of six children. Their letters from Milltown, County Kerry, dictated to a scrivener, were posted to sons Thomas and Jeffrey and daughter Julia Riordan and her husband Cornelius, all of whom had emigrated in search of employment to Boston, Massachusetts—a city that would itself be transformed by the famine-era influx of Irish immigrants.

In addition to transcriptions of the forty-eight letters in the collection, this volume includes contextual essays by historian Ruth-Ann Harris and genealogist Marie Daly. The evidence of the letters themselves, along with the contributions of Harris and Daly, demonstrate the ways in which the family of James Prendergast was at once exceptional and typical.

“This delightful compendium of short, savory, and highly tellable tales embodies the beliefs and folkways of rural Japan—specifically the area most impacted by the recent tsunami and nuclear disaster. It adds immeasurably to our insight into that endangered world.”

—Joseph Sobol, Ph.D., director, ETSU Storytelling Graduate Program

Once or twice in a generation a poet comes along who captures the essential spirit of the American Midwest and gives name to the peculiar nature that persists there. Like James Wright, Robert Bly, Ted Kooser, and Jared Carter before him, Dan Lechay reshapes our imagination to include his distinct and profound vision of this undersung region.

The poetry of Dan Lechay, collected in The Quarry, constructs a myth of the Midwest that is at once embodied in the permanence of the landscape, the fleeting nature of the seasons, and the eternal flow of the river. Lechay writes of memory and the mutability of memory, of the change brought on a person by the years lived and lost, and of the stoic attempts made by those around him to elicit an order and rationale to their lives.

The Quarry is the first full-length collection from this seasoned poet. Final judge Alan Shapiro in writing about The Quarry said: “If Dan Lechay’s poems often begin with the ordinary details and circumstances of life in a small Midwestern town or city, they always end by reminding us that no moment of life is ever ordinary, that ‘Nothing is more mysterious than the way things are.’

The Quarry is a marvelous, disquieting, extraordinarily beautiful book that meditates on fundamental questions of time and change in and through a clear-eyed yet loving evocation of everyday existence. Under Lechay’s soulful gaze, the backyards, neighborhoods, animals, and landscapes he describes dramatize the often wrenching connection between beauty and loss, evanescence and memory. The Quarry is a thoroughly mature and accomplished book.”

In these stories of magic and memory, clustered around a resort hotel in a small Virginia community, Cary Holladay takes the reader on an excursion through the changes wrought by time on the community and its visitors. From the quiet of a rural forest to the rhythms of rock and roll, The Quick-Change Artist is at once whimsical and hard-edged, dizzying in its matter-of-fact delivery of the fantastic.

Romance, a sense of place and belonging, and the supernatural—especially in the lives of children coming of age—offer windows into worlds beyond the ordinary throughout The Quick-Change Artist. In the title story, a young chambermaid is in love with a foreign magician who performs at the hotel where she works. In “Heaven,” set during the 1918 flu epidemic, a struggling mother and son rely on the support of their fortune-telling plow horse. The narrator of “Jane’s Hat” recalls a childhood enlivened by an unusual school principal and a friend who starts finding beauty everywhere.

Horses and the people who love them, wanderers and those who feed them, creatures that disappear and those who search for them: these are stories with a constant heart.

Ownership battles over the marbles removed from the Parthenon by Lord Elgin have been rumbling into invective, pleading, and counterclaims for two centuries. The emotional temperature around them is high, and steering across the vast past to safe anchor in a brilliant heritage is tricky. The stories around antiquities become distorted by the pull of ownership, and it is these stories that urge Patricia Vigderman into her own exploration of their inspiring legacy in her compelling extended essay, The Real Life of the Parthenon.
 
Vigderman’s own journey began at the Parthenon, but curiosity edged her further onto the sea between antiquity and the present. She set out to seek the broken temples and amphorae, the mysterious smiles of archaic sculpture, and the finely hammered gold of a funeral wreath among the jumbled streets of modern Athens, the fertile fields of Sicily, the mozzarella buffalo of Paestum. Guided along the way toward the enduring landscapes and fractured history by archeologists, classicists, historians, and artists—and by the desire they inspire—she was caught by ongoing, contemporary local life among the ruins. Gathering present meaning and resonance for the once and future remains of vanished glory, The Real Life of the Parthenon illuminates an important but shadowy element of our common cultural life: the living dynamic between loss and delight.
 

"A man doesn’t sleep with the moon. He sleeps with his hunger, gathers bowls of avocados and wipes his lips with his sins."

The Religion of Hands does not foster sleep. Look quickly and you will catch the hint of a fox streaking in front of your car’s headlights at night. Look more carefully out your bedroom window and you may see your life going by, lost loved ones waving hello.

"Who were you when the stars were misinterpreted as the fingertips of God?"

Ray Gonzalez blends symbolic play with lyrical beauty as he works from a vast and complex palette to infuse popular culture with myth. The Religion of Hands is imbued with magical realism: a suffocating dream of tamales, mysterious reptilian allusions, a man who "finds God walking down the stairs to hand him an old, tattered phonebook from the year he was born." It offers strange prophecies: "A steady vegetation will grow across the empire as more homeboys are killed in drive-bys. . . . Microscopic scratches on an old vinyl record will form a message discovered in twenty more years when the album is bought at a garage sale." And in 14 flash fictions, it tells of a tiny old man kept in a glass jar, an accordion stored in an old family trunk, tales of sharks and bandits. The religion of hands has its own unspoken sacraments. "The fingers take over, teaching whoever holds the moment that the rapid weight of the open hands is a dangerous way to live."

Seamlessly, effortlessly, multi-dexterously, Ray Gonzalez spins words that speak our very dreams.