Bøger i Juniper Prize for Poetry serien

"Crafted with lines from her late father's letters, Jennifer Tseng's Thanks for Letting Us Know You Are Alive is a portrait of an immigrant, a rootless person whose unspoken loss-that of his native geography, family, traditions, language-underlies every word. Though her father's first language was Mandarin, for more than twenty years he wrote these letters in English, in theory so that she could understand them. His sentences are riddled with errors, some nearly unintelligible. Lines from his letters appear as titles and are scattered throughout the poems, blending voices of father and daughter. This collection enacts what it means to lose someone and commune with them simultaneously-the paradox of grief and all it gives us"--

"Chamber after Chamber is about what fractures, fixes, and refills the hearts of two girls as they grow into women. A loose narrative in three sections, the poems follow a speaker and her cousin through their hardscrabble, backwoods childhood to their separation-both physical and emotional-as adults. From the make-believe apocalypses and cut-and-paste valentines of elementary school to the stadium-seating classrooms and multiplexes of southern China, our speaker tries to leave the shame and dysfunction of her family behind"--

"Does history live inside of us? Are we capable of transcending the past or are we destined to repeat it? With understated humor and grace, Once, This Forest Belonged to a Storm wrestles with questions of inheritance, spiritual unrest, the integrity of the self, and humanity's relationship to the natural world. Excavating both personal and historical trauma and the rippling effects of the Holocaust, Austen Leah Rose writes of "the silence that follows after silence." The poems in this debut collection map a surreal journey from alienation to belonging, as our speaker floats across the night sky over Los Angeles, communes with Shakespeare in a hotel room, attends a dinner party in outer space, and drifts down a river for fourteen years with her sister"--

"Conversational, irreverent, and disarmingly honest, the poems of But She Is Also Jane follow the everyday contours of women's lives and the expectations they grapple with. As our speaker approaches middle age, she copes with the loss of loved ones, the realities of an emptying nest, the routine indignities of sexism, and nostalgia for the past. Laura Read's third poetry collection balances discussions of Degas, Vermeer, and Marie Curie with reflections on Sammy Hagar, a troubling outing to a male revue, and memories of watching Mork and Mindy on the night of her mother's hysterectomy"--

Scarred by nuclear smokestacks, oil wells, and surging floodwaters, and haunted by the legacies of slavery, racism, and French rule, the Louisiana of Landscape with Bloodfeud is disenchanted but still exerts an undeniable pull.

Looking to a wide range of high and low visual media, Stacy Gnall ponders human-animal connections and divisions, exploring those moments when human voices blend with 'silent' beasts to exceed the limits of language.

Wrestling with desire, shame, and the complications of attempting to resist one's own nature, this collection of poems offers a tragicomic tour of a heart in midlife crisis. Populated by unruly angels, earthbound astronauts, xylophones, wordplay, and glitter glue, these wildly associative poems transform the world line by line, image by image.

In this book-length poetic sequence, Bruce Bond explores the psychology of endings as a living presence that haunts our spiritual, moral, and ecological imaginations, elevates its summons, and draws us to question its significance.

This distinctive collection introduces a new type of mythmaking, daring in its marriage of fairy tale tropes with American mundanities. Conspiratorial, Goodbye, Flicker describes the interior life of a girl whose prince is a deadbeat dad and whose escape into a fantasy world is also an escape into language, beauty, and the surreal.

Mapping an uncanny journey through the clusters of media we encounter daily but seldom stop to contemplate, Christina Pugh's focused descriptions, contrasting linguistic textures, and acute poetic music become multifarious sources of beauty, disruption, humour, and hurt.

Grappling with an information culture that is both intimidating and daunting, Kent Shaw considers the impersonality represented by the continuing accumulation of personal information and the felicities - and barriers - that result: "The us that was inside us was magnificent structures. And they weren't going to grow any larger."

Diane Seuss's poems grow out of the fertile soil of southwest Michigan, bursting any and all stereotypes of the Midwest and turning loose characters worthy of Faulkner in their obsession, their suffering, their dramas of love and sex and death.

A cross-genre book - a blend of poetry, songs, lyric prose, and invented forms - that explores the everyday junctures of perception, compassion, and multiplicity. How might our powers of association create shared experiences without distorting the contexts from which those experiences emerge?

In the study of sound waves and optics, the term transmission loss refers to how a signal grows weaker as it travels across distance and between objects. In this book, Chelsea Jennings reimagines the term in poems that register attenuated signals, mark presence and loss, and treat the body as an instrument sensitive to the weather of immediate experience.