"Home is a complex ideation for many POC and migrant peoples. I Always Carry My Bones explores how familial history echoes inside a person and the ghosts of lineage dwell in a body. Sometimes we haunt. Sometimes we are the haunted. Pierced by an estranged relationship to Mexican culture, the ethereal ache of an unknown father, the weight of racism and poverty in this country, the indentations of abuse, and a mind/physicality affected by doubt, these poems root in the search for belonging-a belonging inside and outside the flesh. Space-making requires a clawing at the atrocities of today's social injustices. Space-making requires a dismantling of violent systems against brown and black bodies. Home is the place where the horrid and beautiful intertwine and carve a being into existence. At times, the reaction is recoil: "biomimicry-how I adapt away/ from you-biomimicry-as if to chant my way/ into something worthy of your affection." At other times, the reaction is love: "if we fracture a system long enough/ our voices build/ a neoteric system/ with our voices inside." The voices in these poems are never truly singular. POC, trans/queer individuals and all marginalized people hold evolutionary revolutions in our cells. In language and elements, we are a collective. Survival held in our adaptation-another action that culls from us. We summon the magic inside of us to create a world in which we see ourselves beyond the death expected of us. We pray to our own tongues to conjure ourselves into existence. This book longs for a sanctuary of self-the dwelling of initial energy needed for our collective fight for human rights"--

At the age of 17 only a week out from graduating from high school Maddy Ritchie was diagnosed with a rare childhood cancer called Rhabdomyosarcoma. She was given most likely three months to live and had to undergo 12 months of the most enduring and intense treatment regime to have some sort of chance at life. Through her horrific adversity she found hope and healing through writing, she is raw and real when it comes to the truth of cancer on the individual and the others that surround them. A young girl of feeling self conscious, lack of purpose, materialism and taking many things for granted her cancer diagnosis flipped her world upside down. It changed her as a person forever but for a good reason. Her determination inspired many, she wanted to share her personal story with the world in hopes people will understand, relate and be more aware of the real issues and stigma’s that surround cancer in todays society. She found through the power of her mind and within herself that she serves a purpose and that she can recover even when the odds were so against her. Maddy Ritchie is a #1 international best selling author of “She Will Always Carry On”. Maddy writes about the good and the bad days of her experience, how to cope with such grief and uncertainty, relationships, and how to look at your adversity positively and the power of the mind! Maddy is an inspirational and engaging Speaker on overcoming extreme adversities. Her openness with her personal life, what she faces everyday and her passion about making a change in the world is one that stands out from the crowd. She talks openly about her pain and devastation the cancer left on her body, the lack of funding and inequality certain cancers face today, and that even through horrific times we all can make it through by determination and the mind.

A searing memoir of reckoning and healing by acclaimed journalist Stephanie Foo, investigating the little-understood science behind complex PTSD and how it has shaped her life “Achingly exquisite . . . providing real hope for those who long to heal.”—Lori Gottlieb, New York Times bestselling author of Maybe You Should Talk to Someone ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post, Cosmopolitan, NPR, Mashable, She Reads, Publishers Weekly By age thirty, Stephanie Foo was successful on paper: She had her dream job as an award-winning radio producer at This American Life and a loving boyfriend. But behind her office door, she was having panic attacks and sobbing at her desk every morning. After years of questioning what was wrong with herself, she was diagnosed with complex PTSD—a condition that occurs when trauma happens continuously, over the course of years. Both of Foo’s parents abandoned her when she was a teenager, after years of physical and verbal abuse and neglect. She thought she’d moved on, but her new diagnosis illuminated the way her past continued to threaten her health, relationships, and career. She found limited resources to help her, so Foo set out to heal herself, and to map her experiences onto the scarce literature about C-PTSD. In this deeply personal and thoroughly researched account, Foo interviews scientists and psychologists and tries a variety of innovative therapies. She returns to her hometown of San Jose, California, to investigate the effects of immigrant trauma on the community, and she uncovers family secrets in the country of her birth, Malaysia, to learn how trauma can be inherited through generations. Ultimately, she discovers that you don’t move on from trauma—but you can learn to move with it. Powerful, enlightening, and hopeful, What My Bones Know is a brave narrative that reckons with the hold of the past over the present, the mind over the body—and examines one woman’s ability to reclaim agency from her trauma.

Matthew Zapruder picks the poems for the 2022 edition of The Best American Poetry, “a ‘best’ anthology that really lives up to its title” (Chicago Tribune). Since 1988, The Best American Poetry series has been “one of the mainstays of the poetry publication world” (Academy of American Poets). Each volume presents a selection of the year’s most brilliant, striking, and innovative poems, with comments from the poets themselves lending insight into their work. For The Best American Poetry 2022 guest editor Matthew Zapruder, whose own poems are “for everyone, everywhere...democratic in [their] insights and feelings” (NPR), has selected the seventy-five new poems that represent American poetry today at its most dynamic. Chosen from print and online magazines, from the popular to the little-known, the selection is sure to capture the attention of both Best American Poetry loyalists and newcomers to the series. The series and guest editors contribute valuable introductory essays that illuminate the current state of American poetry.

""What will be possible / when I'm no longer sorry?" asks the speaker of THE LAST UNKILLABLE THING after the sudden death of a parent. "What do lost daughters burst into?" In this debut collection by Emily Pittinos, the speaker is tasked with relearning the ways of loneliness, family, sex, and wilderness as a person who feels thoroughly and abruptly without. Shaped by both concision and unfolding sequences, THE LAST UNKILLABLE THING is a journey across landscapes of mourning where "in [the] periphery, every shadow / is a new dead thing." The light of these poems takes on the tint of grief, and through that light the speaker reexamines what remains: her changed self, her desire, the midwestern flora, the unyielding snow. Interior and exterior ecologies blur until loss becomes a place of its own, and the only inevitability. "Doesn't it hurt," Pittinos writes, "to be human. I'm so human, I could die.""--

The Lengest Neoi embraces and complicates what it means to err--to wander or go astray; a deviation from a code of behavior or truth; a mistake, flaw, or defect. In this collection from Stephanie Choi, you'll find the poet's "tongue writing herself, learning to speak."

In the world of literary journals and little magazines, the Carolina Quarterly is one of the oldest and most prestigious in the South. Founded in 1948 at the University of North Carolina at Chapel Hill, the magazine has published many luminaries of modern and contemporary literature, including Robert Morgan, Evie Shockley, Joyce Carol Oates, Doris Betts, and others. This anthology gathers some of the best work from the last three-quarters of a century, along with an informative essay about the journal's history and impact. The volume reminds us of the ways small literary journals reflect the voices of their region and changed the literary landscape. This work reaches beyond the imagined boundaries of a single university or single state. Thus the anthology also celebrates a form—the student-run literary journal—that has shaped the regional and national conversation and reflects the astounding accomplishment of the Carolina Quarterly over the past seventy-five years.

Some of today's most imaginative writers consider what it means to be made and fashioned by others. It is rare now for people to stay where they were raised, and when we encounter one another--whether in person or, increasingly, online--it is usually in contexts that obscure if not outright hide details about our past. But even in moments of pure self-invention, we are always shaped by the past. In Ancestors, some of today's most imaginative writers consider what it means to be made and fashioned by others. Are we shaped by grandparents, family, the deep past, political forebears, inherited social and economic circumstances? Can we choose our family, or is blood always thicker? And looking forward, what will it mean to be ancestors ourselves, and how will our descendants remember us? Contributors Bennet Bergman, Sam Bett, Tyree Daye, Diamond Forde, Duana Fullwiley, José B. González, Racquel Goodison, Terrance Hayes, Day Heisinger-Nixon, Tyehimba Jess, Christina Knight, Emily Lordi, Vuyelwa Maluleke, Reginald McKnight, Cheswayo Mphanza, Achal Prabhala, Domenica Ruta, Metta Sáma, Sonia Sanchez, Izumi Suzuki, Deborah Taffa, Kyoko Uchida, Ocean Vuong, Binyavanga Wainaina, Yeoh Jo-Ann, Felicia Zamora

Children in Tactical Gear offers a brilliant feed of stark incantations and unsparing satire. Set in distinctly American landscapes, including toy weapon assembly lines and the compounds of the super rich, and voiced by imperiled children, failed adults, and even a smart home speaker, this collection demonstrates the unsettling force of a surreal imagination under duress.

Lo maps the deprivation and richness of a rural girlhood and offers an intimate portrait of the woman—tender, hungry, hopeful—who manages to emerge. In a series of lyric odes and elegies, Lo explores the notion that we can be partially constituted by lack—poverty, neglect, isolation. The child in the book’s early sections is beloved and lonely, cherished and abused, lucky and imperiled, and by leaning into this complexity the poems render a tentative and shimmering space sometimes occluded, the space occupied by a girl coming to find herself and the world beautiful, even as that world harms her.