Announcing the Winner of the
That Night Alive: I’ve Come Close
by Tara Deal
It’s been a record-breaking year! Thank you to the 150+ writers who submitted manuscripts; to our incredible final judge, Margaret Luongo; to our undergraduate editorial intern, Eric Rubeo; and to all the Miami University Creative Writing graduate students and faculty members who assisted with the process!
NEW 2016 POETRY TITLES!!
JANICE A. LOWE
$18 – ORDER TODAY!!
Leaving CLE is made from the detritus of reverse migration. Its poems move from Cleveland to New York City to Tuscaloosa’s "schoolhouse door" and back again. They travel and party with a musical Cleveland from Art Tatum’s 1920’s to Albert Ayler and from Ohio Funk to Bone Thugs-n-Harmony. They collage a shifting sense of home and negotiate the gift horse of flashbulb memory. Remembering is a character. Houses speak.
"Leaving CLE is a beautiful document of eccentric return. A collection of unforecast surprise, it keeps giving home away, disbursing and dispersing hard, pleasurable weather like a new kind of lake effect. Cleveland is Brooklyn is Chicago and elsewhere, everywhere in a set of absolute specificities, upSouth, back east, out and out. There’s a black cosmology of “difference without separation” of which Denise Ferreira da Silva, sociologist, speaks. Janice A. Lowe, poet, sings it so hard, makes her air such an irreducible element of the general air, that you couldn’t get away from it if you tried, which is fine, because that’s the last thing you’ll want. Her sound, her time, is everything you do."
$16 – BUY!
The poems in Liz Waldner’s
Her Faithfulness surprise and sustain. The world they know is "daily harmed and harming," and they summon resources against its meanness: the natural world where sight of an indigo bunting or blue lizard presents "the kingdom of heaven," a fragment of song or local speech carrying memory and feeling. All of the themes and inventiveness of Waldner’s eight earlier books are part of Her Faithfulness, here condensed to their essence in poems wild and smart and joyful and wise near the end of their journey: "After a long time, I came to love’s house /
where I was invited to stay."
These playful meditations on sex, passion and, above all, the desire for a home, belie the intensity animating them. When Waldner names the "god" she wants "she," it's easy to overlook the erased option–"goddess" –that implies the co-existence of a male god. Waldner’s position is clear: the only singular god is she. And she, the only "Mercy" worth wanting, is the "good." Her Faithfulness, the story of Waldner’s peripatetic life, rewards a reading, to say nothing of her readers, faithful to the end. –Tyrone Williams
The difference between looking anywhere you can and looking anywhere you want reasons the weather of these exquisite poems, inside which malady, melody, severity, doubt, and pleasure approach and pass to be claimed by a voice too beautiful to ever stop listening for. Liz Waldner may be here to show us how joy made sad gets to keep being joy, how to be beheld by meanness and not be it. This is the work of a vital, profuse mind undeniably at home in poetry. –Kathleen Peirce
$15 – BUY
In the California heartland in 1932, at a migrant labor camp whose very name means forgotten, a child’s sudden illness leads to tensions between workers wishing to break camp and the land barons enforcing their contracts. Into this dispute Esteban Alas —contrabandista and self-styled businessman—is reluctantly drawn as a mediator, until an act of violence forces him into a more tragic role.
$16 – BUY
Alissa Quart’s first book of poetry sifts
brilliantly through our landscape of damaged Americana. From spam
ads to tech speak, from self-help to real estate to the lingo of
gossip or “mom” sites, these poems insistently limn a
country where nearly everything has taken on the character of
money. Quart, the acclaimed author of Branded and two
other books of reported cultural criticism, cuts into our clamorous
culture, summoning its strangeness and humor. Monetized
also reflects upon a shared longing for the analogue era, as well
as our longing for a less commercialized past. This book is a
remarkable account of a state of yearning for the passing moment in
a period of rapid acceleration, a feeling Quart calls
“right-now-nostalgia.” Read more about the