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  More Songs the Radio Won’t Play...

  Stan Rogal

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  Lyrical poetry inspired by popular songs, Rogal sweeps the reader through the journey of creation.
  		 
  In More Songs the Radio Won’t Play, Stan Rogal takes formerly “popular” tunes (from various genres) and transforms them. Self-referentiality; mashups of the erudite and profane; allusions to other arts and sciences; the insertion and bending of biographical and historical facts; problematic snippets of philosophy and literary theory, quotes, and bastardizations; deploying non- or a-political language to challenge notions of how a poem should work; sampling; and off-kilter humour work together to update Rogal’s playlist for a present-day audience.
  		 
  While his poems unavoidably serve to comment on the world today, Rogal resists a central message. The true emphasis of this collection is on the process of creation. It’s not the destination but the journey that is of significance. Not mere cover versions, not exactly parodies (though parodic), these poems are redactions, mutations, Frankenstein’s monsters … they resemble the original — somewhat — yet are also grossly different.

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  Changes and Chances

  Leonard Ng

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  Uncompromising yet accessible, the six sequences in Changes and Chances explore love, sorrow, time, nature, and humanity. By turns passionate, hermetic, and heartbreaking, they simultaneously endure and celebrate all the imperfections of the world. Leonard Ng blends free verse with adaptations of both Western and Asian forms to create a musical poetry grounded in the traditions of both East and West. 
   
   
  A purchase of the book comes with a complimentary Changes and Chances postcard (while stocks last)!

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  The Sin - Science fiction story

  Dr. Amr Mounir

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  A young genius invented a super computer system, but this innovation unleashed massive destruction. I wonder if he will be able to atone for his sin?

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  The Wild Delight of Wild Things

  Brian Turner

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  Although grief is at the forefront of these poems, The Wild Delight of Wild Things is a simple love letter to Turner's late wife, poet Ilyse Kusnetz (1966-2016). The poems are also a love letter to our planet during the ongoing sixth mass extinction. Intertwining this immense grief, Turner explores the hybrid borderlands of genre, and the meditations on love and loss blur the boundaries between poetry and lyric prose. In Italian, the word "stanza" is rooted in the word "room." And so, stanza by stanza, room by room, page by page, we draft ourselves forward into the imagination, our arms filled with all that we can carry from the days gone by. This is the art of survival. Profound grief teaches us how to dwell in the house of memory—that vibrant temporal landscape of the past—where we might live with the dead we love once more.

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  The Odes of Anacreon

  Anacreon

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  Anacreon (582 BCE–485 BCE) was a Greek lyric poet born in Teos, an Ionian city on the coast of Asia Minor. He likely moved to Thrace in 545 BCE with others from his city when it was attacked by Persians. He then moved to Samos, to Athens, and possibly again to Thessaly, seeking a safe place to write his poems as his patrons (including Polycrates, tyrant of Samos, and Hipparchus, brother of Athenian tyrant Hippias) kept being murdered. It is unknown where Anacreon died, though he lived to the unusually advanced age of 85. 
  Few of Anacreon's works survive, but those that do focus on wine, love (homosexual and heterosexual), and the overall pleasures of the legendary Roman symposium. Anacreon used various techniques in his writings, including self-deprecation and irony. The collection of miscellaneous Greek poems from the Hellenistic Age and beyond known as the Anacreontea was "mistakenly labeled" with Anacreon's name. Despite later appreciation for Anacreon's true poems, his works were not appreciated during his lifetime.
  This work is a collection of the Odes of Anacreon, translated into English by Thomas Moore.

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  The Tent Generations -...

  Fadwa Tuqan, Salem Jubran,...

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  From the Introduction by Mohammed Sawaie:
  The Palestinian poets included in The Tent Generations, Palestinian Poems represent different age groups and backgrounds, yet they all express a strong sense of "Palestinian-ness". They include Israeli citizens, the offspring of those who remained in Palestine after 1948. They also include poets who lived or continue to live in the West Bank and Gaza, areas that are still occupied, or controlled by Israelis as of this writing. Finally, they include poets born in Palestine, but whose families were expelled, or migrated to neighboring Arab countries as a result of the Arab-Israeli wars of the Nakba in 1948, and then of 1967 and 1973.
  The educational backgrounds of the poets represented here vary. Salem Jubran, Samih al-Qasim, Tawfiq Zayyad, and Marwan Makhoul, for example, were products of the Israeli educational system. Others attended institutions of learning in various Arab countries. Fadwa Tuqan received little formal education in her city of Nablus; she, however, acquired instruction in language, support in writing poetry, and encouragement to publish her poems from her brother, the well-known poet Ibrahim Tuqan, mentioned previously.
  All these poems are written in fusha Arabic, Modern Standard Arabic, the codified literary, written language shared by educated speakers of Arabic in their various respective regions. Palestinian folkloric poetry, referred to as al-Shi'r al-Sha'bi or Shi'r al-'Ammiyya, is not included in this work. Folk poetry, richly expressed orally in the Palestinian dialect, 'Ammiyya, embraces a variety of themes (national pride, panegyric, love, generosity toward guests/strangers, and so on), including the political themes expressed in the poems in this work. There is a rising interest in collecting and preserving this folkloric poetry, and several anthologies of oral poetry as well as studies have recently appeared.
  The 1948 Nakba, the wars of 1967 and 1973, and their subsequent tragic impact find expression in the work of Palestinian poets. Some of the authors in this collection had firsthand experience of the loss of home, and the up-rootedness from and destruction of their villages and cities. Others acquired knowledge of such experiences, the tragedy that befell Palestinians, through stories told by grandparents or parents, stories of hardship and deprivation transmitted from one generation to another. Thus, poets express in vocabulary specific to the Palestinian experience of the dispossession of homeland, the forced expulsion, the pain of living in the miserable conditions of refugee camps in the diaspora.

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