Bøger udgivet af Milkweed Editions

From the celebrated author of Last Notes, a brilliant collection of stories exploring a world in which ordinary people are caught between the pincers of aggressors, leading to actions at once deplorable, perplexing, and heroic Praise for Siege 13 "Tamas Dobozy's stories are usually about Hungarians living outside of Hungary, lost forever in the labyrinth built on the thin border between memories and reality, past and present, words and silence. Like Nabokov, Dobozy combines the best elements of European and American storytelling, creating a fictional world of his own." --David Albahari Praise for Last Notes "Strange and intense." --The New York Times "An artistic and intellectual boon." --Publishers Weekly "Strikes the right balance between the surreal and the realistic. These stories have a staying power, a bleak charm that remains long after you put down the book." --Bookslut

Taking several ageless questions--"Where do we come from? Where are we going? What shall we do?"--as his point of departure, award-winning author Christopher Merrill explores the related issues of terror, modernity, tradition, and epochal transformation. In three extended essays, Merrill observes the performance of a banned ritual in the Malaysian province of Kelatan; traces Saint-John Perse's epic voyage from Beijing to Ulan Bator in 1921, and relates it to the China of today; and embarks on a trip across the Levant in 2007 in the wake of the American wars in Iraq and Afghanistan. Merrill asserts that it is in this trinity of human actions--ceremony, expedition, and war--that history is formed; and that the political, environmental, and social changes we're witnessing now presage the end of one order and the creation of another.

The Deepwater Horizon oil spill was the worst offshore oil spill in U.S. history: over the course of three months, nearly five million barrels of crude oil gushed into the waters of the Gulf of Mexico and washed up along our coast. Yet it was an avoidable environmental catastrophe preceded by myriad others, from Three-Mile Island to the Exxon Valdez. Traveling the shores of the Gulf from east to west with oceanographers, subsistence fisherman, seafood distributors, and other long-time Gulf residents, acclaimed author and environmental advocate David Gessner offers an affecting account of the aftermath of the Deepwater Horizon oil spill. With "The Tarball Chronicles" Gessner tells a story that extends beyond the archetypal oil-soaked pelican, beyond politics, beyond BP. Instead he explores the ecosystem of the Gulf as a complicated whole and focuses on the people whose lives and livelihoods have been jeopardized by the spill. He reintroduces this oil spill as a template for so many man-made disasters and the long-term consequences they pose for ecosystems and communities. From the compelling people and places Gessner encounters on his journey we learn not only the extensive consequences of our actions but also how to break a destructive cycle. Throughout, "The Tarball Chronicles" suggests we can make a change in the way we live and prevent future disasters if we are willing to fundamentally rethink our connections to the natural world. "This is a book about connections," Gessner writes, "and never have we needed to make connections like we do right now."

"Exquisite . . . A powerful example of how to carry the things that define us without being broken by them." -WASHINGTON POST

"First published by Doubleday Canada, a division of Random House of Canada Ltd."--Title page verso.

Collection is winner of the Jake Adam York Prize, selected by poet Dana Levin, and a debut collection from the author, who has been widely published in literary journals Colorado Review, New Ohio Review, among othersStrong blurb from Jake Adam York Prize judge Dana Levin, who says "reading these poems is like embarking on a Twilight Zone episode where Franz Kafka bumps into Salvador Dalí . . . this is a singular debut"

A Ms. Magazine Most Anticipated Book of 2023A vibrant collection of personal and lyric essays in conversation with archival objects of Black history and memory.What are the politics of nature? Who owns it, where is it, what role does it play in our lives? Does it need to be tamed? Are we ourselves natural? In A Darker Wilderness, a constellation of luminary writers reflect on the significance of nature in their lived experience and on the role of nature in the lives of Black folks in the United States. Each of these essays engages with a single archival object, whether directly or obliquely, exploring stories spanning hundreds of years and thousands of miles, traveling from roots to space and finding rich Blackness everywhere.Erin Sharkey considers Benjamin Banneker’s 1795 almanac, as she follows the passing of seasons in an urban garden in Buffalo. Naima Penniman reflects on a statue of Haitian revolutionary François Makandal, within her own pursuit of environmental justice. Ama Codjoe meditates on rain, hair, protest, and freedom via a photo of a young woman during a civil rights demonstration in Alabama. And so on—with wide-ranging contributions from Carolyn Finney, Ronald Greer II, Alexis Pauline Gumbs, Sean Hill, Michael Kleber-Diggs, Glynn Pogue, Katie Robinson, and Lauret Savoy—unearthing evidence of the ways Black people’s relationship to the natural world has persevered through colonialism, slavery, state-sponsored violence, and structurally racist policies like Jim Crow and redlining.A scrapbook, a family chest, a quilt—and an astounding work of historical engagement and literary accomplishment—A Darker Wilderness is a collection brimming with abundance and insight.

"One of the most important German-language poets of the younger generation."-Goethe Institut

-

"I needed to laugh and wonder and wince and gasp. I needed to see all this glorious seeing. You need this book too."-Danez Smith

Winner of the 2013 ASLE Book AwardWinner of the Reed Award for the Best Book on the Southern Environment 2011Named a Top Book from the South 2011 by The Atlanta Journal-ConstitutionA San Francisco Chronicle Gift Book Recommendation for 2011A Southern Independent Booksellers Bestseller“For those interested in putting the Gulf crisis in perspective, there can be no better guide than this funny, often uncertain, frank, opinionated, always curious, informed and awestruck, accounting of how we’ve gone wrong and could go right, a full-strength antidote to the Kryptonite of corporate greed and human ignorance.” —Atlanta Journal-ConstitutionTraveling the shores of the Gulf from east to west with oceanographers, subsistence fisherman, seafood distributors, and other long-time Gulf residents, acclaimed author and environmental advocate David Gessner offers a lively, arresting account of the aftermath of the Deepwater Horizon oil spill. With The Tarball Chronicles Gessner tells a story that extends beyond the archetypal oil-soaked pelican, beyond politics, beyond BP, and beyond other oil spill books in the market. Instead, heart on his sleeve and beer in hand, he explores the ecosystem of the Gulf as a complicated whole and focuses on the people whose lives and livelihoods have been jeopardized by the spill. With his

"An allegorical coming-of-age story told in a trusting and curious voice . . . Damas keeps us enthralled as [Francois] unravels the family mystery." -BBC

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Issue 25 of Copper Nickel is aesthetically diverse, featuring translation "folios" by 12th century Chinese poet Li Qingzhao, Chilean Nobel Prize-winner Gabriela Mistral, and Iranian short story writer Payam Yazdanjoo; poetry by Dilruba Ahmed, Michael Bazzett, Talia Bloch, Graham Foust, John Gallaher, Tony Hoagland, Cynthia Hogue, Ashley Keyser, Sara Eliza Johnson, Peter LaBerge, Shara Lessley, Adrian C. Louis, Kevin Prufer, Elizabeth Scanlon, Analicia Sotelo, Juned Subhan, Ellen Doré Watson, Lesley Wheeler, &c.; fiction by Meagan Ciesla, Viet Dinh, Joel Morris, Joanna Pearson, and Pete Stevens; and nonfiction by Robert Archambeau, Alex McElroy, and Hasanthika Sirisena.The cover of this issue features work by Denver-based painter and collagist Daisy Patton.

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations.Issue 26 of Copper Nickel features a diverse collection including translation "folios" of work by Norwegian poet Paal-Helge Gaugen, Franco-Algerian poet Samira Negrouche, and Austrian poet Elisabeth Schmeidel; poems by National Book Award and National Book Critics Circle Award Finalist Ada Limón, four-time Pushcart Prize winner Kevin Prufer, Yale Younger Poetry Series winner Fady Joudah, National Poetry Series winner Noah Eli Gordon, Canto Mundo fellow Rosebud Ben-Oni, NEA fellows James Hoch, Aimee Nezhukumatathil and Melissa Stein, Rockefeller Foundation fellow Robert Wrigley, Lambda Literary Award winner Maureen Seaton, as well as numerous emerging poets; fiction by Rona Jaffe Foundation Writer's Award recipient Ladee Hubbard, Story Prize finalist Daphne Kalotay, as well as emerging writers Kaitlyn Andrews-Rice, Emily Chiles, and Gianni Skaragas; and nonfiction by NEA fellows Don Bogen and James Allen Hall, Kudiman Fellow Shamala Gallagher, Best American Essays contributor Matthew Vollmer, and newcomer Sari Boren.The cover features work by Denver-based artist Rebecca Berlin.

Copper Nickel is a meeting place for multiple aesthetics, bringing work that engages with our social and historical context to the world with original pieces and dynamic translations. Since the journal’s relaunch in 2015, work published in Copper Nickel has been selected for inclusion in Best American Poetry, Best American Short Stories, and the Pushcart Prize Anthology, and has been listed as "notable" in the Best American Essays. Contributors to Copper Nickel have received numerous honors for their work, including the National Book Critics Circle Award; the Kingsley Tufts Poetry Award; the Kate Tufts Discovery Award; the Laughlin Award; the American, California, Colorado, Minnesota, and Washington State Book Awards; the Georg Büchner Prize; the Prix Max Jacob; the Lenore Marshall Prize; the T. S. Eliot and Forward Prizes; the Anisfield-Wolf Book Award; the Alice Fay Di Castagnola Award; the Lambda Literary Award; as well as fellowships from the NEA and the Guggenheim, Ingram Merrill, Witter Bynner, Soros, Rona Jaffee, Bush, and Jerome Foundations. Issue 24 features twenty-two "flash fictions" by established and emerging fiction writers, including Ed Falco, Robert Long Foreman, Stephanie Dickinson, Pedro Ponce, Matthew Salesses, Ruth Joffre, Danielle Lazarin, Joseph Aguilar, Thomas Legendre, Patricia Murphy, Wendy Oleson, Alicita Rodríguez, and Thaddeus Rutkowski. Also featured are translation folios by Italian experimental poet and computer scientist Lorenzo Carlucci, Brazilian poet and PEN Brazil National Prize Winner Denise Emmer, and internationally renowned Russian poet Tatiana Shcherbina. Other contributors include poets Kaveh Akbar, Adam Tavel, David Dodd Lee, Kerri French, Ashley Keyser, Ryan Sharp, Kevin Craft, J. Allyn Rosser, Zeina Hashem Beck, Ed Bok Lee, John A. Nieves, &c.; fiction writers Bradley Bazzle, Erin Kate Ryan, and T. D. Storm; and nonfiction writers Aimée Baker, Dan Beachy-Quick, and S. Farrell Smith.

From Kingsley Tufts Award finalist Kathy Fagan comes Bad Hobby, a perceptive collection focused on memory, class, and might-have-beens.In a working-class family that considers sensitivity a fatal diagnosis, how does a child grow up to be a poet? What happens when a body meant to bend & breed opts not to, then finds itself performing the labor of care regardless? Why do we think our common griefs so singular? Bad Hobby is a hard-earned meditation on questions like thesea dreamscape speckled with swans, ghosts, and weather updates.Fagan writes with a kind of practical empathy, lamenting pain and brutality while knowing, also, their inevitability. A dementing father, a squirrel limp in the talons of a hawk, a child who wont ever get born: with age, Fagan posits, the impact of ordeals like these changes. Loss becomes instructive. Solitude becomes a shared experience. You think your one life preciousAnd Bad Hobby thinkshard. About lineage, about caregiving. About time. It paces inside its head, gazing skyward for a noun or phrase to / shatter the glass of our locked cars & save us. And it does want to save us, or at least lift us, even in the face of immense bleakness, or loneliness, or the body changing, failing. Dont worry, baby, Fagan tells us, the sparrow at her window. Were okay.

Somewhere between elegy and memoir, poetry and prose, Ed Pavlis Call It in the Air follows the death of a sister into song.Pavlis collection traces the life and death of his elder sister, Kate: a brilliant, talented, tormented woman who lived on her own terms to the very end. Kates shadow hovers like a penumbra over these pages that unfold a kaleidoscope of her world. A small-town apartment full of paintings & burritos & pyramid-shaped empty bottles of Patron & an ad hoc anthology of vibrators. A banged-up Jeep, loose syringes underfoot, rattles under Colorado skies. Near an ICU bed, Pavli agonizes over the most difficult questions, while doctors swish off to the tune of their thin-soled leather loafers. And a diary, left behind, brims with revelations of vulnerability nearly as great as Pavlis own.But Call It in the Air records more than a relationship between brother and sister, more than a moment of personal loss. I sit while eleven bodies of mine fall all over the countless mysteries of who you are, he writes, while Somewhere along the way, heat blasting past us & out the open jeep, the mountain sky turned to black steel & swung open its empty mouth. In moments like these, Pavli recognizes something of his big sister everywhere.Rived by loss and ravaged by grief, Call It in the Air mingles the voices of brother and sister, one falling and one forgiven, to offer an intimate elegy that meditates on love itself.

Ama Codjoes highly anticipated debut collection brings generous light to the inner dialogues of women as they bathe, create art, make and lose love. Each poem rises with the urgency of a fully awakened sensual life.Codjoes poems explore how the archetype of the artist complicates the typical expectations of women: be gazed upon, be silent, be selfless, reproduce. Dialoguing with and through art, Bluest Nude considers alternative ways of holding and constructing the self. From Lorna Simpson to Gwendolyn Brooks to Lynette Yiadom-Boakye, contemporary and ancestral artists populate Bluest Nude in a choreography of Codjoes making. Precise and halting, this finely wrought, riveting collection is marked by an acute rendering of highly charged emotional spaces.Purposefully shifting between the role of artist and subject, seer and seen, Codjoes poems ask what the act of looking does to a personpublic looking, private looking, and that most intimate, singular spectacle of looking at ones self. What does it mean to see while being seen? In poems that illuminate the tension between the possibilities of openness and and its impediments, Bluest Nude offers vulnerability as a medium to be immersed in and, ultimately, shared as a kind of power: There are as many walls inside me / as there are bones at the bottom of the sea, Codjoe writes in the masterful titular poem. I want to be seen clearly or not at all.The end of the world has ended, Codjoes speaker announces, and desire is still / all I crave.Startling and seductive in equal measure, this formally ambitious collection represents a powerful, luminous beginning.