The first months of London’s Great Plague of 1665 give no hope of any improvement, only an ominous warning of worse to come. Those who can are fleeing the city. Those who can’t – the poor, the old, and a dedicated few – must stay to face the growing danger. The ancient women of the parish of St Cyneswide and St Tibba, the Searchers, Viewers and Keepers, who have weathered the disappearance of one of their own, face further calls on their courage and resilience. The plot against the King simmers, supported by folk of fire and faith, dismissed by others as the work of fanatics. There are those who will stop at nothing and threaten the whole city. But … the parish still finds solace in singing; small children play their joyous, sometimes fractious, street games; and young people find each other. Volume 2 of Plague Searchers – Flee quick, go far – continues this gripping tale with its friendships and feuds, songs and psalms, plots and betrayals.

It is 1665 and London faces two deadly threats – the devastating plague, and dangerous rumblings of a rebellion against the King, Charles II. In the frontline of the plague, the ‘first responders’, are the ancient women of the parish: the Viewers, Keepers and Searchers, who must deal with the sick, the dying and the dead. Political and religious differences split the city. Some yearn for the days of Oliver Cromwell and the Puritan Commonwealth, others rejoice in the pleasure loving King’s return. A tale of friendships and feuds, songs and psalms, plots and betrayals, this exciting and original novel paints a rich picture of life – and death – in the perilous streets of plague-struck London.

In Auction, her first poetry collection in eight years, the poet, novelist, and playwright Quan Barry travels the globe in her signature quest into the existential nature of experience. These poems explore the inner landscapes of both the human and animal realms, revealing them to be points along the same spectrum. At the heart of the book lies an extended study of toxic storytelling as an element of warcraft, but Barry also contemplates the death of a Buddhist master, the plight of migrants both at home and abroad, the ethics of travel and consumption, and the larger question of how and why we construct a self in order to navigate the world.

Winner of the Starrett PrizeAnuradha Bhowmik’s life as a Bangladeshi-born American girl growing up as a first-generation immigrant in the United States gives shape to this debut collection. Brown Girl Chromatography interrogates issues of race, class, gender, and sexuality in a post-9/11 America while navigating the poet’s millennial childhood, adolescence, and adulthood. The poems follow Bhowmik as she learns about the cruelties in both American and Bangladeshi worlds without any guidance or instruction on how to survive these conflicting spheres. Any visible traces of her Bangladeshi life result in racial ridicule from her peers, while participating and assimilating into American culture is met with violence and abuse at home. As language and memory intersect, Bhowmik draws on pop culture and free association to examine her displacement from many angles and make meaning out of hurt.

A rebuttal to Aeschylus’ Oresteia, Every Form of Ruin posits the Erinyes’ fury as righteous, understanding Clytemnestra’s rageful response to loss, and refusing Iphigenia’s relegation to a footnoted sacrifice. A fierce and darkly funny examination of anger, these lyrical poems push back against silencing by paying witness to a world where the experiences of women, nonbinary, and femme-identifying people are too often ignored, their responses dismissed as hysterical. These poems are also investigations into the loneliness of mid-life; the search for one’s own self when that self has given its life to service. Every Form of Ruin counters our culture’s erasure of women and resists the categorizations of maiden, mother, crone by blurring those distinctions through the creation of voices that are moved by rage and resistance.

A History of the Women’s Antifascism Movement in Argentina that Contains Lessons for Opposing Fascism Today Argentine women’s long resistance to extreme rightists, tyranny, and militarism culminated in the Junta de la Victoria, or Victory Board, a group that organized in the aftermath of the German invasion of the Soviet Union in defiance of the neutralist and Axis-leaning government in Argentina. A sewing and knitting group that provided garments and supplies for the Allied armies in World War II, the Junta de la Victoria was a politically minded association that mobilized women in the fight against fascism. Without explicitly characterizing itself as feminist, the organization promoted women’s political rights and visibility and attracted forty-five thousand members. The Junta ushered diverse constituencies of Argentine women into political involvement in an unprecedented experiment in pluralism, coalition-building, and political struggle. Sandra McGee Deutsch uses this internationally minded but local group to examine larger questions surrounding the global conflict between democracy and fascism.

Elton Glaser’s ninth book of poems is haunted by the loss of his wife, each April bringing back the memory of her death. The opening line confesses the struggle to find a language for this grief: “I’m learning to speak in the accents of adieu.” As the book progresses through the seasons, it evokes the places that remind him of their times together, in the South of their youths, in the Midwest of their long marriage, and in their travels here and abroad. And yet there is also another strain that keeps breaking through, the particulars of joy in family and the natural world, grandsons and “swaggering lilies,” and a swan like “a sullen bride in her white finery.” With an irrepressible wit and a music that enlivens his lines in both celebration and elegy, Glaser never forgets that, as Wallace Stevens said, “Memory without passion would be better lost.”

During the first decade of the century, Evo Morales and other leftists took control of governments across Latin America. In the case of Bolivia, Morales was that country’s first Indigenous president and was elected following five years of popular insurrection after decades of neoliberal governance. Now We Are in Power makes the argument that the so-called Pink Tide should be understood as a passive revolution, a process that has two phases: a period of subaltern struggle from average citizens strong enough to culminate in a political crisis, which is followed by a time of reconciliation and transformation. Angus McNelly examines this movement as it unfolded and evaluates how passive revolution plays out over a prolonged crisis, ultimately demonstrating the inherent contradictions and complications of the process.

Small in Real Life invokes the myth and melancholy of Southern California glamor, of starry-eyed women and men striving for their own Hollywood shimmer and the seamy undersides and luxurious mystique of the Golden State. Exiled to a Malibu rehab, an alcoholic paparazzo spies on his celebrity friend for an online tabloid. Down to her last dollar, a Hollywood hanger-on steals designer handbags from her dying friend’s bungalow. Blinded by grief, an LA judge atones after condescending to a failed actress on a date. When hunger for power, fame, and love betrays the senses, the characters in these nine stories must reckon with false choices and their search for belonging with the wrong people. Small in Real Life offers an insider’s view of California and the golden promises of possibility and redemption that have long made the West glitter.

Stop Lying is Aaron Smith’s most personal and vulnerable work yet. Revolving around the death of Smith’s mother and how the poet, a gay man, faces his upbringing where his sexuality was viewed as sinful and unnatural, these poems plumb the complexities of what families say and choose not to say. How does one grieve when a relationship will forever remain unresolved? What does it mean to both regret and not regret one’s decisions? What if survival doesn’t look like what we're told it should? This is the story of a poet pushing through present-day grief and the shame of the past to find the buried truths, the ones that are hardest to tell. 

That Ship Has Sailed synthesizes the serious and comic to address sex, love, loss, death, belief, the afterlife, and the past. The poems are honest and direct without sacrificing “the uncertainties, mysteries, and doubts” that Keats singles out in his notion of “negative capability,” alluded to in the title poem. Amplified by the poet’s work as a traditional Irish musician and composer, language is the adhesive that brings the work together across the avant-garde to traditional forms and meters.

The twelfth volume of The Correspondence of John Tyndall contains 326 letters and covers the fifteen months of Tyndall’s life from March 1871 through May 1872, a time when he was a central figure in the field and had a substantial reputation in both the UK and the US. It begins just before the publication of Fragments of Science in April and Hours of Exercise in May. It includes a number of small but public disputes about science. Tyndall had a number of visits from friends and dignitaries, and he traveled to Switzerland, Ireland, and the countryside for scrambles. He was dealing with family issues out of Ireland, which were troublesome for him. He was busy administering the Royal Institution and the Royal Society; he was also working as the scientific consultant to Trinity House, which was involved in overseeing lighthouses in the United Kingdom, of which Ireland was a part at this time. Unlike other volumes, this one is not defined as much by one or two major projects or events for Tyndall, but instead includes a number of smaller projects and issues for him personally and professionally. As a leading man of science, and preoccupied with the work required for Trinity House, he had little time for socializing or research and began to refuse both social and professional invitations. Although well established, he remained concerned with his image, which manifests in a number of ways throughout this period.

Aristotle was the first philosopher to divide the imagination—what he called phantasia—from other parts of the psyche, placing it between perception and intellect. A mathematician and philosopher of mathematical sciences, Aristotle was puzzled by the problem of geometrical cognition—which depends on the ability to “produce” and “see” a multitude of immaterial objects—and so he introduced the category of internal appearances produced by a new part of the psyche, the imagination. As Justin Humphreys argues, Aristotle developed his theory of imagination in part to explain certain functions of reason with a psychological rather than metaphysical framework. Investigating the background of this conceptual development, The Invention of Imagination reveals how imagery was introduced into systematic psychology in fifth-century Athens and ultimately made mathematical science possible. It offers new insights about major philosophers in the Greek tradition and significant events in the emergence of ancient mathematics while offering space for a critical reflection on how we understand ourselves as thinking beings.

Change arises as something both desired and mourned in poems that reckon with a world where perspectives blur, names drift “billowing, unattached,” and language yields a broken music. A statue of Lenin topples in a Georgian square only to be raised again in a Dallas backyard. Antlers sprout from Actaeon’s head, rendering him unrecognizable to the dogs he loves. Ungainly piano notes pour from a window and wake unexpected wonder in a lost walker. A forest grows inside a box that once held a father’s new pair of shoes. Skylab slips from its watchful orbit and careens toward Earth. A familiar chair once owned by a now absent family appears in a field of wild parsnips. Meditative and richly imaginative, these poems cast and recast the self and its relation to other selves, and to memory, history, power, and the natural world.

Trailer Park Psalms traces the speaker’s journey beyond his boyhood trailer park, through an American landscape marked by violence—from a gas line explosion in his hometown to his father’s war memories to the scars of colonialism inscribed in place, language, and ecology. Along the way, he searches for sources of awe that might inspire us, even in a compromised world: the everyday miracle of eyesight, the courage of the Voyager spacecrafts, and the “clumsy kindness” of family members trying to mend the damages of the past. In the end, what he finds isn’t faith but the hope that “if there’s a heaven, we will bend / to examine our old selves / and wonder how something so delicate / was ever allowed. ”

A Poetic Autobiography—Intimate, Sorrowful, and Funny Lynn Emanuel’s sixth collection of poetry is not sequential or straightforward. It has no conventional chronology, no master narrative. Instead, it is a life story, with all the chaos and messiness entailed therein. Transcript of the Disappearance, Exact and Diminishing is a commotion of grief and wit, audacious images, poems, and paragraphs. It explores and centers on the possibilities and limitations of art in the face of disappearances of many kinds, including the disappearance that is most personal—the poet’s own.