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  In the Night Field

  Cameron McGill

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  "All fire and surprise, sadness and forgiveness...I could never say enough about the beauty of this work." —Jericho Brown 
  "Cameron's poems are wonderfully full, energetic, and ardent." —Vijay Seshadri 
  "McGill skillfully navigates the mysteries of relationship, memory, and regret as the best poets do." —Dorianne Laux 
  "It’s been a long time since I have heard the 'god of small thunder' echo so powerfully in a collection." —Campbell McGrath 
  Cameron McGill’s debut collection of poetry, In the Night Field, spotlights the effects of memory: its startling artistry, varied discontents, and casual fallibility. These poems chart the complex relationship between mental health and place; the difficult paths home can be lonely and circuitous, the emotional coordinates we map along the way a reminder of those intimate regions that hold and haunt us. These can be isolating passages, but are just as often fertile: “I walk further each day toward the strange / austerity my heart makes of reason.” Between the attentive, persistent self and the longed-for, absent other arises a fragmented conversation, an exchange that’s in a constant state of arrival. As McGill shows us, memories are a corrective, carrying back to us occasions for instruction, reconciliation, or in those astonishing flashes of clarity, what again hopes to be loved.

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  rib cage: poems

  Rosaly Puthucheary, Arunditha, ...

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  Our ALLTHETIME folios present three poets across the generations in conversation with one another.  
    
  Pounding beneath rib/cage is a visceral struggle for selfhood and belonging. These poems shatter through the suffocating grip of silence and constraint. These are words carved into verse as sharp as bone—voiced into the stillness of night. 
    
  Within the pages of our first ALLTHETIME folio lies a collection spanning five decades. This chorus of voices across time confront unyielding questions about alienation and autonomy, reminding us that the fight remains as fierce as ever. Let these lines take root in your breath; we dare you to recite them with your whole damn chest.

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  Gaze Back

  Marylyn Tan

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  Winner of the Singapore Literature Prize (Poetry 2020) 
   
  What do we expect of an author who is unapologetically female? What do we expect of consuming art in general? Should a work be easy, should a work be safe? 
   
  Marylyn Tan’s debut volume, GAZE BACK, complicates ideas of femininity, queerness, and the occult. The feminine grotesque subverts the restrictions placed upon the feminine body to be attractive and its subjection to notions of the ideal. The occultic counterpoint to organised religion, then, becomes a way toward techniques of empowering the marginalised. 
   
  GAZE BACK, ultimately, is an instruction book, a grimoire, a call to insurrection—to wrest power back from the social structures that serve to restrict, control and distribute it amongst those few privileged above the disenfranchised.

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  The Untranslatable I

  Roxanna Bennett

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  In unmeaningable, her previous Trillium Poetry Award winning book with Gordon Hill Press, Roxanna Bennett renovated the North American disability poetics canon via her queer fusion of invisible and visible disability identities. The Untranslatable I builds on Roxanna's acute sense of form and cripping of myth by establishing a more reflective, heartbreaking voice that asks, "Was I chosen? Is this a gift or a curse?" and provides answers not as prescribed path or cure, but as beautiful song.

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  A Bigfoot Bestiary and Other...

  Martin Achatz

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  A Bigfoot Bestiary and Other Wonders is a compendium of natural and unnatural astonishment, anatomizing all those big, hairy monsters that haunt the human condition. Follow their footprints through these pages, and Martin Achatz may just make you a believer in the greatest mystery of all: Love with a capital "L". 
  "Martin Achatz knows what it is to be big and hairy and to express the animal inside us. To paraphrase the Zen koan, live as if you were already Bigfoot. If Iowa Poet Laureate Marvin Bell has his Dead Man poems, Michigan's Achatz has rendered poetical the great ape of the Northwoods, and he eloquently and determinedly immerses us in the dream, meanwhile paying homage to Robert Frost, Pablo Neruda, Wallace Stevens, Flannery O'Connor, and all the other wonderful monsters." --Bonnie Jo Campbell, author of The Waters and American Salvage 
  "Martin Achatz reimagines the legendary Bigfoot in his newest book, a funny and moving collection of poems that is playfully serious. Achatz melds cryptozoologic wonder with the heartrending stuff of the everyday world ... a fierce Sasquatch howl that illuminates and reveals the fragile state of our collective humanity." --W. Todd Kaneko, author of This Is How the Bone Sings 
  "I believe Martin Achatz intended these pages to impart joy (and other wonders) to those who read with an open paintbox at the ready, its colors so pure they demand that monster landscapes be captured and dimensioned within the nether worlds of dreams and the genius of second readings. A 5-star book without doubt." -- Sue Harrison, international bestselling author of The Midwife's Touch 
  Author of The Mysteries of the Rosary and a former U.P. Poet Laureate, Martin Achatz lives in Ishpeming, Michigan with his family. In his spare time, he chases comets and Bigfoot.

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  Paradise Lost

  John Milton

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  Paradise Lost is an epic poem written by the Puritan English poet John Milton between 1658 and 1663, and published in 1667. This is a period of English history which encompasses the end of Oliver Cromwell's Commonwealth and the restoration of the monarchy in 1660.
  Perhaps reflecting some of his country's turmoil during Milton's life, Paradise Lost deals with revolution in Heaven by Satan and his followers against God, their defeat and banishment to Hell, and their subsequent plotting of revenge, leading ultimately to Satan beguiling Eve in Paradise to taste the fruit of the Tree of Knowledge against the explicit command of God. Milton's vivid and poetic description of these events is both dramatic and compelling. The work gained swift acceptance and has always remained a popular and important part of English literature.
  Originally published in ten books, a second edition was published in 1674 arranged into twelve books, the form in which it appears here.

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