A space salvager and her partner make the discovery of a lifetime that just might change the universe in this wild, big-ideas space opera from multi award-winning author Elizabeth Bear. Haimey Dz thinks she knows what she wants. She thinks she knows who she is. She is wrong. A routine salvage mission uncovers evidence of a terrible crime and relics of a powerful ancient technology, just as Haimey and her small crew run afoul of pirates at the outer limits of the Milky Way and find themselves both on the run, and in possession of ancient, universe-changing technology. When the authorities prove corrupt, it becomes clear that Haimey is the only one who can protect her galaxy-spanning civilisation from its potential power - and from the revolutionaries who want to use it to seed terror and war. But doing so will take her from the event horizon of the super-massive black hole at the galaxy's core to the infinite, empty spaces at its edge. Along the way, she'll have to uncover the secrets of ancient intelligences lost to time as well as her own lost secrets, which she will wish had remained hidden from her forever . . . Energetic and electrifying, Ancestral Night is a dazzling new space opera, sure to delight fans of Alastair Reynolds, Iain M. Banks, and Peter F. Hamilton. Praise for Elizabeth Bear 'Gripping, perfectly balanced, and highly recommended' Kirkus 'Like the best of speculative fiction, Bear has created a fascinating and complete universe that blends high-tech gadgetry with Old World adventure and political collusion' Publishers Weekly.
(source: Nielsen Book Data)

Eve Ewing's first book, Electric Arches, was a breakout success, winning the Norma Farber First Book Award from the Poetry Society of America, an Alex Award from the American Library Association, and being named the Best Poetry Book of 2017 from the Chicago Review of Books. It was also named one of the best books of 2017 by NPR, The Chicago Tribune, Poets & Writers Magazine, O Magazine, The Chicago Public Library, and Goodreads. Following on the success of Claudia Rankine's Citizen: An American Lyric, and the ongoing prominence of Black Lives Matter movement, there is a renewed interest in poetry and prose that documents the Black experience in America. Eve Ewing has a growing profile as both performer and journalist; she has written for The New Yorker, The Atlantic, The New York Times, Poetry Magazine, The Nation, and The New Republic.
(source: Nielsen Book Data)

• The man with the big general notions
• Zoo sign
• [Wake up Jack]
• Circus
• The circus of the sun
• The juggler
• Jerusalem
• Question
• [The port was longing]
• [One stone]
• Andalusian proverb
• [Maximum capacity]
• [Basic forms]
• [Goodbye]
• [One bird, two birds]
• [River]
• [In the dark]
• Shorter history of western civilization
• [Are you a visitor]
• [The watcher]
• [Every night]
• The bomb
• Sea & sky
• Abstract poem
• Able Charlie Baker dance
• A problem in design
• The angel and the little old lady
• Shepherd's calendar
• Seven episodes
• Tractatus I-II
• One island
• Tiger
• 21 pages.

"The American poet Robert Lax belongs to the generation of Thomas Merton, Beat poetry, Abstract Expressionism, and the compositions of John Cage. Yet he stands out as this era's most intriguing minimalist poet, gaining this reputation through a constant questioning of the universe and our idea about it. His poetry varies from fables and parables to clear-cut columns of words, from his account of a day at the circus as a vision of creation to his own insistent and mystical search for truth. 33 Poems presents the quintessential gathering of Lax's work, including Sea & Sky and The Circus of the Sun, 'perhaps the greatest English-language poem of this century' (The New York Times)"-- Provided by publisher.

This is a book about Americans. Not the ones brunching in Park Slope or farming in Wranglers or trading synergies in a boardroom; they are not executives or socialites. They are not the salt of the earth. Nor are they huddled masses yearning to breathe free. These are the others of the everyday, the Americans no one sees. These are the brown and bland ones who understand the good, tough money in working a double, who know which end of a joint to hit. They can find Karachi on a map. They know a shortcut to Ikea. They can land a punchline. These are their poems. In The 44th of July, Jaswinder Bolina offers bracing and often humorous reflections on American culture through the lens of an alienated outsider at a deliberately uncomfortable distance that puts the oddities of the culture on full display. Exploring the nuances of life in an America that doesn't treat you as one of its own, yet whose benefits still touch your life, these exquisitely crafted poems sing in a kaleidoscopic collaging of language the mundane, yet surreal experience of being in between a cultural heritage of migration and poverty and daily life in a discriminatory yet prosperous nation. Both complicit in global capitalism and victims of the inequality that makes it possible, these are the Americans who are caught in a system with no clear place for them. Bolina opens the space to include the excluded, bringing voice and embodied consciousness to experiences that are essential to Americanness, but get removed from view in the chasms between self and other, immigrant and citizen.
(source: Nielsen Book Data)

"A coming-of-age story about one boy's journey across contemporary Afghanistan to find and bring home the family dog, blending the grit and immediacy of voice-driven fiction like We Need New Names with the mythmaking of One Thousand and One Nights. Twelve-year-old Marwand's memories from his previous visit to Afghanistan six years ago center on his contentious relationship with Budabash, the terrifying but beloved dog who guards his extended family's compound in Logar. Eager to find an ally in this place that's meant to be "home," Marwand approaches Budabash the way he would any dog on his American suburban block--and the results are disastrous: Marwand loses a finger and Budabash escapes. The resulting search for the family dog is an expertly told adventure, a ninety-nine-night quest that sends Marwand and his cousins across the landscape of Logar. Moving between celebrations and tragedies, deeply humorous and surprisingly tender, 99 Nights in Logar is a vibrant exploration of the power of stories--the ones we tell each other, and the ones we find ourselves in"-- Provided by publisher.

"A mesmerizing novel of unfolding dystopia in a world very like our own, for readers of Emily St. John Mandel's Station 11 and Margaret Atwood's The Year of the Flood. The prequel to Eric Barnes's acclaimed novel The City Where We Once Lived, Above the Ether follows six sets of characters moving through a landscape and a country just beginning to show the signs of cataclysmic change."-- Provided by publisher.

Acoustic shadows - sound suppressed in such a way that even General Grant was deceived by one at the Battle of Iuka in the American Civil War - complicate the lives of many figures appearing in these poems, including that of the young John Matthias at his grandfather's house on Iuka Drive in Columbus, Ohio in the 1950s. This book, Matthias's first volume of entirely new poems since Complayntes for Doctor Neuro (Shearsman, 2016), includes a group of short lyrics followed by an essay called "Some Zones" (about places in which a kind of imaginative clarity becomes possible) and two longish sequences, "Prynne and a Petoskey Stone" and "First and Last Opinions, " dealing with the American Midwest from the perspective of an English poet's Cambridge, and the Ohio Supreme Court opinions written by Matthias's father and grandfather. The title poem concludes the volume by bringing together memories and documents relating to the poet's great-grandfather, especially those pertaining to Civil War battles in which he fought alongside the famous and mysterious Ambrose Bierce, author of The Devil's Dictionary, who disappeared in Mexico in 1913.
(source: Nielsen Book Data)

Action in the Orchards' explores ekphrastic poetry and its possibilities through experiences and encounters, with art and architecture, with friends and lovers, with our own pasts and futures, how they intersect with language, and how language acts as a filter through which our relations to experiences are communicated. Fred Schmalz follows the energy of those exchanges, in hopes of witnessing new opportunities for language. Formally experimental and musical, the poems coalesce through a kaleidoscopic mix of speech fragments, elision, mistranslation, collage, appropriated language, dream transcription, and wordplay.
(source: Nielsen Book Data)

While the field of childhood studies has blossomed in recent years, few scholars have taken up the question of age more broadly as a lens for reading American literature. Adulthood and Other Fictions shows how a diverse array of nineteenth-century writers, thinkers, and artists responded to the rise of chronological age in social and political life. Over the course of the century, age was added to the census; schools were organized around age groups; birthday cards were mass-produced; geriatrics became a medical specialty. Adulthood and Other Fictions reads American literature as a rich, critical account of this modern culture of age, and it examines how our most well-known writers registered-and often resisted-age expectations, particularly as they applied to women and people of color. More than simply adding age to the list of identity categories that have become de rigeur sites of scholarly attention, Adulthood and Other Fictions argues that these other measures of social location (race, gender, sexuality, class) are largely legible through the seemingly more natural and essential identity defined by age. That is, longstanding cultural ideals about maturity and development anchor ideologies of heterosexuality, race, nationalism, and capitalism, and in this sense, age rhetoric serves as one of our most pervasive disciplinary discourses. Writers including Louisa May Alcott, Frederick Douglass, and Henry James anticipated the ageism of our moment, but they also recognized how age norms both structure and limit the lives of individuals at all points on the age continuum. Ultimately, the volume argues for an intersectional understanding of age that challenges the celebration of independence and autonomy imbricated in US fantasies of adulthood and in American identity itself.
(source: Nielsen Book Data)

While the field of childhood studies has blossomed in recent years, few scholars have taken up the question of age more broadly as a lens for reading American literature. Adulthood and Other Fictions shows how a diverse array of nineteenth-century writers, thinkers, and artists responded to the rise of chronological age in social and political life. Over the course of the century, age was added to the census; schools were organized around age groups; birthday cards were mass-produced; geriatrics became a medical specialty. Adulthood and Other Fictions reads American literature as a rich, critical account of this modern culture of age, and it examines how our most well-known writers registered-and often resisted-age expectations, particularly as they applied to women and people of color. More than simply adding age to the list of identity categories that have become de rigeur sites of scholarly attention, Adulthood and Other Fictions argues that these other measures of social location (race, gender, sexuality, class) are largely legible through the seemingly more natural and essential identity defined by age. That is, longstanding cultural ideals about maturity and development anchor ideologies of heterosexuality, race, nationalism, and capitalism, and in this sense, age rhetoric serves as one of our most pervasive disciplinary discourses. Writers including Louisa May Alcott, Frederick Douglass, and Henry James anticipated the ageism of our moment, but they also recognized how age norms both structure and limit the lives of individuals at all points on the age continuum. Ultimately, the volume argues for an intersectional understanding of age that challenges the celebration of independence and autonomy imbricated in US fantasies of adulthood and in American identity itself.
(source: Nielsen Book Data)

• Strongwoman ; Aerialists ; The evasive magnolio ; Twin ; The wilderness act ; The April thief ; Solidarity forever ; The clown ; The ringmaster.

Aerialists is a fiercely inventive collection of nine stories in which classic carnival characters become ordinary misfits seeking grandeur in a lonely world. A young misogynist finds a confidante in a cable-TV strongwoman. A realtor for the one percent invokes his inner murder clown. A skin-and-bones mathematician and his bearded wife plot revolution. A friendless peach farmer holds a funeral for a beloved elephant. And a model-train hobbyist prepares to throw his miniature world in the trash.

After unwittingly helping her mother poison King Louis XIV, seventeen-year-old alchemist Mirabelle Monvoisin is forced to see her mother's Shadow Society in a horrifying new light: they're not heroes of the people, as they've always claimed to be, but murderers. Herself included. Mira tries to ease her guilt by brewing helpful curatives, but her hunger tonics and headache remedies cannot right past wrongs or save the dissenters her mother vows to purge. Royal bastard Josse de Bourbon is more kitchen boy than fils de France. But when the Shadow Society assassinates the Sun King and half of the royal court, he must become the prince he was never meant to be in order to save his injured sisters and the petulant dauphin. Forced to hide in the sewers beneath the city, Josse's hope of reclaiming Paris seems impossible--until his path collides with Mirabelle's. She's a deadly poisoner. He's a bastard prince. They are sworn enemies, yet they form a tenuous pact to unite the commoners and former nobility against the Shadow Society. But can a rebellion built on mistrust ever hope to succeed?-- Publisher's description.

Ana Falcón, along with her husband Lucho and their two young children, has fled the economic and political strife of Peru for a chance at a new life in New York City in the 1990s. Being undocumented, however, has significantly curtailed the family's opportunities: Ana is indebted to a loan shark who calls herself Mama, and is stretched thin by unceasing shifts at her factory job. To make matters worse, Ana must also battle both criticism from Lucho's cousin--who has made it obvious the family is not welcome to stay in her spare room for much longer--and escalating and unwanted attention from Mama's husband.

• Introduction: a race against time?
• Critical shade: the angular logics of black appearance
• Crushed black: on archival opacity
• Brer soul and the mythic being: toward a queer logic of dark sense
• Deep time, dark time: anarchaeologies of blackness
• Little monsters: unsettling the sovereign wild
• Fabulous, formless: queer theory's dark precursor
• Habeas ficta: afro-fabulation and the fictions of ethnicity
• Chore and choice: the depressed cyborg's manifesto
• Conclusion: for a critical poetics of Afro-fabulation.

Argues for a conception of black cultural life that exceeds post-blackness and conditions of loss In Afro-Fabulations: The Queer Drama of Black Life, cultural critic and historian Tavia Nyong'o surveys the conditions of contemporary black artistic production in the era of post-blackness. Moving fluidly between the insurgent art of the 1960's and the intersectional activism of the present day, Afro-Fabulations challenges genealogies of blackness that ignore its creative capacity to exceed conditions of traumatic loss, social death, and archival erasure. If black survival in an anti-black world often feels like a race against time, Afro-Fabulations looks to the modes of memory and imagination through which a queer and black polytemporality is invented and sustained. Moving past the antirelational debates in queer theory, Nyong'o posits queerness as "angular sociality, " drawing upon queer of color critique in order to name the gate and rhythm of black social life as it moves in and out of step with itself. He takes up a broad range of sites of analysis, from speculative fiction to performance art, from artificial intelligence to Blaxploitation cinema. Reading the archive of violence and trauma against the grain, Afro-Fabulations summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life.
(source: Nielsen Book Data)

The geography of After Party includes married life and fatherhood, a childhood survived if not fully understood, the transition from youth to an adulthood filled with responsibilities, and the dangers of our current world and culture-on a personal and global scale-that can distract and disrupt life and our idea of home. By turns funny and heartbreaking, flirtatious and frank, Blaustein never lets his aggravation or confusion overwhelm his sense of gratitude for the life he leads and those he loves.
(source: Nielsen Book Data)

• Introduction. Infrastructures of African American print / Brigitte Fielder and Jonathan Senchyne
• Section I. Infrastructures
• Slavery, black visual culture, and the promises and problems of print in the work of David Drake, Theaster Gates, and Glenn Ligon / P. Gabrielle Foreman
• "The books you've waited for" : Ebony magazine, the Johnson book division, and black history in print / E. James West
• Making lists, keeping time : infrastructures of black inquiry, 1900-1950 / Laura E. Helton
• Parsing the special characters of African American print culture : Mary Ann Shadd and the * limits of search / Jim Casey
• Section II. Paratexts
• Dionne Brand's A Map to the Door of No Return and antiblackness of the book as an object / Beth A. McCoy and Jasmine Y. Montgomery
• Performative paratexts : Postblackness, law, and the periodization of African American literature / Jesse A. Goldberg
• Richard Wright between two fronts : Black Boy in the black metropolis / Kinohi Nishikawa
• Imitation, racialization, and interpretive norms : Nella Larsen's "plagiarized" story in The Forum / Barbara Hochman
• Section III. Formats
• Visionary history : recovering William J. Wilson's "Afric-American Picture Gallery" / John Ernest, Rian Bowie, Leif Eckstrom, and Britt Rusert
• Centering black women in the black Chicago renaissance : Katherine Williams-Irvin, Olive Diggs, and "new negro womanhood" / Aria S. Halliday
• The slave narrative unbound / Michaël Roy
• The walking book / Bryan Sinche.

The work of black writers, editors, publishers, and librarians is deeply embedded in the history of American print culture, from slave narratives to digital databases. While the printed word can seem democratizing, it remains that the infrastructures of print and digital culture can be as limiting as they are enabling. Contributors to this volume explore the relationship between expression and such frameworks, analyzing how different mediums, library catalogs, and search engines shape the production and reception of written and visual culture. Topics include antebellum literature, the Harlem Renaissance, the Black Arts Movement; "post-Black" art, the role of black librarians, and how present-day technologies aid or hinder the discoverability of work by African Americans. Against a Sharp White Background covers elements of production, circulation, and reception of African American writing across a range of genres and contexts. This collection challenges mainstream book history and print culture to understand that race and racialization are inseparable from the study of texts and their technologies.
(source: Nielsen Book Data)