Wolf's Milk: The Lost Notebooks of Juan Sweeney

Literature & Fiction

Sweeney, Chad

Poetry

Forklift Books

In her debut full-length poetry collection, BURN IT DOWN, Katie Byrum sparks a poetic inferno out of a grim year. The book is a love letter to bad luck and an attempt to make peace with gravity, "sometimes kind/ in keeping us here/ other times letting us fall." These vivid and radiant poems look sorrow straight in the eye. Their speaker rages and laments, cracks jokes, flips the bird, and begs the walls to come down, only to learn the hard way: be careful what you wish for. With "a feeling of fashionable danger," she drives at-and away from-the disasters that shape us, all the while keeping one eye on the rearview. This isn't catharsis; this is necessary arson. And yet, despite all the setbacks, BURN IT DOWN contends, we can look up and see "sky/ with a promise at the edges."

Burn It Down

Byrum, Katie

Like That

Yeager, Matthew

United States

A ferocious and tender collection of stories that feels necessary, timely, and true. Passionate, raw and sharply honed, these stories span the range from brief fables that unfold like flowers to torrents of inquiry so passionately searching you will be left breathless. —Amy Parker, author of BEASTS &amp; CHILDREN Here is a collection in which every person, animal, tree, spoon, and stone is capable of burning with love and grief, losing itself in transports of joy and wonder, succumbing to illness, quaking with desire, and breaking and being broken by every other. Rutschman brings a wonderful grace and suggestiveness to both the longest and the shortest of his stories, and as a result he has made a book that deserves not only to be read but reread, most particularly "The Baby," which is a profound work of empathetic imagination, and a masterpiece. —Kevin Brockmeier, author of THE ILLUMINATION David Rutschman’s INTO TERRIBLE LIGHT has brought a whispering, uncontainable fire into our world. —Kevin McIlvoy, author of 57 OCTAVES BELOW MIDDLE C

Into Terrible Light

Rutschman, David

Short Stories & Anthologies

Hannibal surprises not only with every flip of a page and every new poem, but from line to line. This is an entirely unique voice and vision—intimate and edgy, musical and casual, funny and scary. The reader feels directly addressed, by someone familiar, but the poems are also full of startling imagery. The figurative is made even more eerie and powerful than it otherwise would be, being hidden, as it often is, within the context of a plain-spoken directness (“Gibbous moon faint in the midday sky / forms enough of a circle to get its drift across…”). All things spare here are deceptively complex. The poems accumulate in power, and, via juxtaposition, keep the reader hungry and satisfied at the same time. There are so many experiments being successfully pursued here, so many thrilling risks being taken in this work, that one has a sense this poet has reinvented poetry; however, this is a poet who knows her craft, has command of it, is always in conversation with the traditions of her art, while she consistently, ingeniously, is making it new. Hannibal is a wildly important and game-changing book by a poet whose sensibility brings us, through poetry, an entirely new way of seeing the world, ourselves in it, and the art of the poem. —Laura Kasischke Sparkling with intimacy and personal flare, Hannibal explores the commonplace with devastating directness and emotional vibrancy that is by turns restrained and bravely open. Deft, funny at the most unlikely times, unafraid of the weird, these poems are as beguiling as they are dangerous. Alcohol provided. The fuse is lit. —Dean Young

Hannibal

Hannibal, Shauna

Darcie Dennigan's accounts of psychic states masquerading as disappearances are so striking, even luscious, that you may wish they were realities, even though she writes of great loss and unendurable pain. We see her Reporter every day on every TV news show, looking serious in a place of nothing, and telling us "I'm standing at the spot where-" invariably some horror happened. Mothers lose their children, often to animals, like Meryl Streep in A Cry in the Dark; and girls lose their proto-boyfriends and, years, later can't even remember how they died or even if they died. Behind Dennigan's "gone girls," the spirits of Kafka and Borges, and perhaps the shadow of Bhanu Kapil, wait and nod their heads in the great pity of fullness. Read "The Parking Lot" if you want to wrap your hand round the live wire of a miracle. —Kevin Killian

The Parking Lot and other feral scenarios

Dennigan, Darcie

Appleby, Eric

We are not born to stake a claim, but to claim a stake in each other, to burn alive if needed in the pure resurrection of our simultaneous decay. We tell ourselves they had a choice, that we have a choice, but some choices are rolling blackouts, some choices are two frayed ends of wire arcing reddest electricities between raw, uncoiling fingers, some choices are piling sandbags with your neighbors as the floodwaters rise, some choices are not really choices at all.

Dear Corporation,

Fell, Adam

Growing up split between an ancestral farmhouse and a busted-up trailer on the banks of the Mississippi River, Skylar Alexander’s work centers on pop culture, chronic illness, philosophy, Buddhism, violence, and growing up in rural Iowa. Her writing has appeared in places such as Cutbank, Smokelong Quarterly, Hobart, and Forklift, Ohio. She studied English and Entrepreneurial Management at the University of Iowa and is pursuing her master’s in Education from NYU Steinhardt School of Culture, Education, and Human Development. A former book designer, she now teaches English in the Bronx.

Searching for Petco

Alexander, Skylar

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