The book’s title is derived from the story “Stormchasers,” in which a couple that moved cities constantly compares the two places while trying to establish a routine. They admit to having “hurricane envy” as they realize that a coming storm won’t really impact them, despite their preparations.
(reviews)
in my city, two fallen en route
to a market, eight more
at an intersection
of a hospital, ice
in their cheeks, hair, lips as if
they said goodbye
(poetry)
One of the famous Iranian rug patterns is the Tree of Life, in which the tree is often located on the vertical symmetry line of the carpet. The tree symbolizes the connection of earthly beings to the heavens.
(poetry)
I WhatsApp my cousin on his jubilee. He was born the day after the Yom Kippur War started, and here again: rockets, hostages, my aunt fainting. Can we celebrate anything without a backdrop of mourning, or—unlike the other day in Ukraine—even mourn, not adding at the memorial half a village to the slain?
(Ukraine)
In both concept and practice, we ask a great deal of the field, making it an adaptable metaphor in poetry and art: the open field, the blank page, the blank canvas. The field suggests potential, something unspoiled and limitless where growth is inevitable.
(reviews)
The poems conjure historical and essential artifacts, from “Before Refrigeration” to “Beckoning DigiSex,” and people, too, such as Darwin walking on mountains above the sea, and the poet’s grandmother, whose life “began in Kitty Hawk / and ended in Sputnik.” The tone includes not a simper of lachrymosity for some mythic, ideal time. “The poems included here,” Goldbarth’s introduction continues, “are meant to elegize.”
(reviews)
The title comes from Margaret Atwood’s poem “You Fit Into Me,” a borrowed line that helps Gaudry translate her own feelings. The phrase “fit into me” can act as both a plea and a demand, asking us to place ourselves inside the characters—but borrowed language can also act like a mirror, reflecting our own experiences back at us rather than revealing hers.
(reviews)
Anesthesia for the moment. Anesthesia for the pain. The anesthesiologist’s line: “Don’t worry, you won’t remember this when you wake up,” is precisely what worried me. I didn’t remember. What else had I missed?
(nonfiction)
this sharpness
of ritual burns
toward expiation, but
the body kindles
(poetry)
That which presents itself
startling you
when you least expect it
must have the practised agility
of that which does not present itself
when it is expected.
(poetry/translations)
The problem was that each believed themselves to be a good person. Ethical, if not moral. And yet here they were on a bench not talking about the thing that existed between them.
(fiction)
Nausea knocked around my empty stomach with nothing to temper it. This woman looked just like the Wikipedia image of Edith Wharton I fell asleep to. Was I seeing pixels come to life? No. I needed to get a healthier sleep schedule now that Ramadan was over, it was clearly affecting my brain.
(fiction)
“We see these policemen over here…” The intersection above them was lined with uniformed police in crowd control gear. “…surrounding our demonstration. They say they’re here to protect and serve, but who are they protecting? Who are they serving?”
(fiction)
“I think that the beauty of Blackness and Black people is that we code-switch all the time. We just know how to talk depending on where we are and to whom we’re speaking, so I don’t think about it too much when I’m writing, but I do think about who’s going to be on the inside of the stories and who’s going to be on the outside,” Amina Gautier tells ACM.
By seventh grade students often work with percentages, fractions, probability and proportional relationships. Math looks different at our Long Covid house. We practice for survival, not standardized testing. What percentage of a medication is metabolized by the liver? By the kidneys? What fraction of the pediatric population gets well?
(nonfiction)
The latest in our FORTHCOMING series of excerpts from new and recent books:
Anika had, Leo knew, a harder time in the uprising than he did. She was working as a junior reporter at the morning Szabad Nep when the soldiers came, not a good place to be. She hid in the storeroom behind a trashcan for three hours listening to the shots, the clatter of shell casings on the linoleum.
(fiction)
So the day begins:
searchlight; flesh cannot repel
it, drinks; partakes; that
never hurt before.
So the day begins
with Big Bang light; no way to
penetrate its skin.
No tool can pierce it.
(poetry/translations)
As the title suggests, this is a book about vantage and perception. In several poems, the speaker takes an empathetic approach, trying to see the world through the eyes of her neurodivergent son. Elsewhere, she poses the question: “How can I teach my child to live through and/or in violence, without becoming violent themselves?”
(reviews)
The often pitch-perfect language captures the absurdity of the way we live now and renders it hilarious: “I fought a monster and defeated it. I did that. But what do you do with that? It’s not something I can post about on Facebook. I mean, my mom would see that.”
(reviews)
The way I’d savor, lovesick, a stricken voice preserved on tape as if in amber. The way I banked those messages. Playing them over and again as proof that once, I had made him care. Echo of skin and moisture and shine and shame. Power diminishing with repetition.
(nonfiction)
You cleaned buckwheat in Ukraine and you’ll continue in America. You even brought a sack of groats with you. Were you afraid you’d starve in this great capitalist country?
(nonfiction/Ukraine)
The collection’s opening salvo asserts this tension in a whiplash, maximalist mad dash. Stories steer their readership past one visceral image after another: burnt oil engines, boiled feet, metallic screams, and fast food mutilations.
(reviews)
Look! Look! Look! The dance
of these albatrosses in a sea, heaviness
like the iceberg of a frozen era!
(poetry)
There was another reason why I opted not to become a doctor like my daddy. He was the only pediatric urologist in town, so he left for work before I woke, shuttled between two hospitals throughout the day, and returned home after my bedtime. Unbeknownst to me, when he would come to give me a goodnight kiss while I was fast asleep, I’d stick out my tongue at him.
(nonfiction)
The boy in the black carriage listens.
Solo in flight the starlings have no message.
They fly. He listens.
(poetry)
The book takes a historical view of global conflicts — namely World War II and the Cold War — and Lamantia’s reactions against the imperial war machine, both in the United States and within globalized systems, emerge as a precursor to the apocalyptic themes often present in Western poetry.
(reviews)
I like art best when its artifice dissolves. Pull back the curtain: It’s me, looking sheepish. Which me is almost irrelevant: I’ll answer to any name you call. Surrendering is only erotic when what you’ve held inside too long has named you. Made you its shape.
(nonfiction)
At 4 a.m. I am awakened by a vision of the river goddess. I am told without words that she saved baachan from drowning. After the funeral of my great-baachan. After a mokugyo drum was broken through. After a shaman sprinkled gold dust into the house’s fire.
(nonfiction)
Danielle Steele’s Going Home, Alice Munro’s Dear Life. Richard Bach’s Jonathan Livingston Seagull. Ali flips open a moldy Farsi translation of The Three Musketeers, his eyes landing on “All falsehood is a mask” just as a slip of paper glides down onto the library’s patchy carpet.
(No Place is Foreign/fiction)
the opening of a cut grape
the butterfly
if it were to lightly rest upon the extremity of the grape
and pretend to drink
if it wasn’t drinking
what was to be done then?
I would have to
improve how well I see, with these eyes
improve how well I hear sounds
and so, employing my hands
I noticed
the smallest of movements
(translations)
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