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"Set on a remote island on the Maine coast, GHOST: : SEEDS incorporates elements of magical realism and myth to explore and trouble conceptions of gender and identity. The central tension of this book-length poem is a dialogue between a trans speaker and his "ghost," the "girl-ghost" of the self that he left behind to become the man he is today. Putting a queer spin on the myth of Persephone, the girl-ghost speaks from underworld lit by glowworms, cut through by dark rivers, and connected to the world above through a sea cave. Alternating between prose-like elements and lyric meditations, the book's expansive form makes full use of the page from margin to margin, creating space and breathing room for complicated investigations of memory, gender, and grief"--

Using the image presented on each card of Lotería as a catalyst for exploration and self-reflection, Rodríguez's eighth collection unveils the familial journey between two countries and cultures through both a surreal and narrative lens. Lyrical, insightful, and honestly engaging, Lotería sheds light on a world that doesn't so easily reveal itself.

"Selling the Humanities explores the challenges facing literature, philosophy, and theory at a time when the humanities appear to some as burnt out. There is incredible pressure to demonstrate the value of the humanities within institutions dedicated to economic feasibility and job placement, not intellectual power and social commitment. This situation is further intensified by the demand that one must always be prepared to sell the humanities to others in an effort to save them. But is it even possible to commodify the humanities? And if so, might our efforts to sell the humanities also have the potential to kill them in the process?"--

"True to its name, Burning Down My Father's House, comes at you like a house on fire. Michael Gills's fourth collection of short fiction continues the saga of Joey Harvell, who's from a people prone to impromptu fistfights on the sides of southern highways, where they drive semis hauling dead whales floating in beds of formaldehyde, after all, "this was the Dixie Circuit-it was nothing for a Peterbilt to pull off the interstate with a six-hundred-pound rat, two-headed goats or Donkey Woman nursing horsey-faced twins." Murderous and grace-infused, these stories incinerate the family trials and tribulations that collect and go on collecting until they stack floor to ceiling under the carports of our lives. What's left after the great conflagration is a matter of the heart, how we love, even when it's impossible"--

"A collection of short stories by Texas author William Harrison. Winner of the 20025 Texas Review Fiction Prize"--

"Tortillera chronicles the life of a Cuban-American daughter, wife and mother as she dismantles the existence she was taught to want in order to evolve into the queer woman she was born to be. Told through intimate, narrative poems, the speaker's life "on the hyphen" is laid bare as she grapples with the effect language, place, and cultural expectations have on sexuality, gender and identity. The TRP Southern Poetry Breakthrough Series: Florida The Signature Series"--

A novella about a pair of queer sisters stuck in a non-stop loop of relationship mistakes, attempts at sobriety from drugs, alcohol, and general lesbian drama, and accidental, unwelcome emotional growth.

How do we become who we are? Millie Morrison returns to her hometown after 20 years in search of an answer, but what she finds is beyond anything she could have expected.

Sarah Audsley's Landlock X is a debut poetry collection that works to solve for all of the (adoptee's) variables, and co-opts the pastoral tradition to argue for belonging to the rural landscape, in spite of displacement, disapora, and all the questions that remain about the varied consquences of adoption, of a life.

"In Heaven's Burning Porch, James Dunlap reckons with the legacy left to him: one of pain, gratitude, violence, and salvation. In turns dark, humorous; lyric and narrative, Heaven's Burning Porch explores what it means to grow up in rural Arkansas under the weight of his rough inheritance"--

"Selena Didn't Know Spanish Either is a debut poetry collection which seeks Tejano pop star Selena Quintanilla as a means of reconnecting to the speaker's cultural identity. As Spanish language and culture becomes more accessible to non-Latinx populations, the speaker grapples with her own complex story of assimilation. Modern marginalization, appropriation, tokenizing, and fetishizing are examined in this multi-generational memoir tracking a Latinx family's journey to assimilation. This dynamic collection is far-reaching, exploring BIPOC experiences in predominantly white cultures"--

In prose poems whose lines strive to be as interesting, alive, and determined to connect as a YouTube comment, and in the aphoristic and observational vein of the best stand-up comedy, Kathleen Rooney's Where Are the Snows is a funny-sad send-up of the absurdity of existence.

GRACEY REITER confronts a painful past and an intimidating future with the approaching death of her father, HENRY MUELLER, the self-described "last Mohican" from the chaotic gene pool known as the Walsh-Mueller family. The present holds the answer, and the last opportunity for Gracey to understand her father's alcoholism, her mother's infidelity, and her siblings' version of the truth.Always present is Gracey's past: the voices of her grandmother, VIOLA MUELLER, and her great-great-grandmother, Irish immigrant PATRICIA WALSH MUELLER. Patricia arrives in Texas in 1847 from the pestilence and starvation of Ireland. The first twenty years of her life she buried family members and lived among strangers. The cruelty of her immigrant life transforms her into an overprotective mother for the six sons she brings into the world with her German husband, EMIL MUELLER. Her fear of death and anxiety of tragedies wrought an inheritance of alcoholism and abandonment beginning with her son, JONAS MUELLER; followed by his son, WILLIAM MUELLER, and finally, to "the last of the Mohicans," Henry Mueller, the first born son of William.The voices of the past give Gracey the courage to find her voice. Using biting humor and gut-level truths for the first time in her life, Gracey walks across the land mines created by a crippling family legacy.Henry's funeral and the Irish wedding of THERESE MUELLER, Gracey's and husband, MARK MUELLER's daughter, coincide by a few weeks and serve as a completion of the family circle. With the closing of one door, and the opening of the future, Gracey finds forgiveness by realizing six generations of the Walsh-Mueller family, saints and sinners, criminals and heroes, the abandoned and the celebrated, are forever family, forever bound by blood and the dreams of an Irish girl, Patricia Walsh Mueller. A Good Girl examines the numbing work of raising children and burying parents through six generations.