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The third collection from the 2014 Lindquist & Vennum Prize Winner (for You Must Remember This ) Since his debut, author’s profile has increased markedly, with poems from this collection featured in journals and magazines including the Boston Review, Pleiades, The Sun , and the Virginia Quarterly Review Along with publications, author’s network is also greatly enhanced, we expect stronger blurbs and more extensive review coverage for this title

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Selected for the National Poetry Series by Ada Limón, <i>I Know Your Kind</i> is a haunting, blistering debut collection about the American opioid epidemic and poverty in rural Appalachia.<br><br>
In West Virginia, fatal overdoses on opioids have spiked to three times the national average. In these poems, William Brewer demonstrates an immersive, devastating empathy for both the lost and the bereaved, the enabled and the enabler, the addict who knocks late at night and the brother who closes the door. Underneath and among this multiplicity of voices runs the Appalachian landscape—a location, like the experience of drug addiction itself, of stark contrasts: beauty and ruin, nature and industry, love and despair.<br><br>
Uncanny, heartbreaking, and often surreal, <i>I Know Your Kind</i> is an unforgettable elegy for the people and places that have been lost to opioids.

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Stranger is a book of both great change and deep roots, of the most rich elements of the earth and the instability of a darkening sky. The third collection by Adam Clay dives into a dynamic world where the only map available is «not of the world / but of the path I took to arrive in this place, / a map with no real definable future purpose.» Tracing a period of great change in his life&#151;a move, a new job, the birth of his first child&#151;Clay navigates the world with elegance and wonder, staring into the heart of transition and finding in it the wisdom that «Despite our best efforts to will it shut, / the proof of the world's existence / can best be seen in its insistence, / in its opening up.» By firmly grasping on to the present, the past and the future collapse into the lived moment, allowing for an unclouded view of a way forward.

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Reverent and profane, entertaining and bruising, Four Reincarnations is a debut collection of poems that introduces an exciting new voice in American letters.When Max Ritvo was diagnosed with cancer at age sixteen, he became the chief war correspondent for his body. The poems of Four Reincarnations are dispatches from chemotherapy beds and hospitals and the loneliest spaces in the home. They are relentlessly embodied, communicating pain, violence, and loss. And yet they are also erotically, electrically attuned to possibility and desire, to &#147;everything living / that won&#8217;t come with me / into this sunny afternoon.&#8221; Ritvo explores the prospect of death with singular sensitivity, but he is also a poet of life and of love&#151;a cool-eyed assessor of mortality and a fervent champion for his body and its pleasures.Ritvo writes to his wife, ex&#173;-lovers, therapists, fathers, and one mother. He finds something to love and something to lose in everything: Listerine PocketPak breath strips, Indian mythology, wool hats. But in these poems&#151;from the humans that animate him to the inanimate hospital machines that remind him of death&#151;it&#8217;s Ritvo&#8217;s vulnerable, aching pitch of intimacy that establishes him as one of our finest young poets.

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Socially engaged poetry&mdash;like Claudia Rankine's Citizen and M. NourbeSe Phillip's Zong!&mdash; have proven to have real sales potentialSadly, tragedies like the Deepwater Horizon oil spill and Katrina are becoming more and more regular, driving interest in different interpretations of environmental catastropheRebecca Dunham is one of our most well-published poets across journals and magazines, she is poised for a break-out book

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From celebrated poet Christopher Howell, Love’s Last Number is a series of musings on time’s arrow: on both the relentless march that divides each moment into past, present, and future – before and after – and the ultimately porous and recursive nature of time itself.A soldier remembers limes and curious children in Portugal. Refugees cross a dangerous land, and find each other in love. Boy scouts play war in devastating ways, a child listens to a baseball game in a more innocent time. In this multiplicity of voices and tones, the collection reflects on what we, as humans, do about memory, love, grief, war, and the search for meaning. In its sinuous sequences, Love’s Last Number insists that life – and history – are a continuing crisis of faith, imagination, consciousness, and moral clarity. And yet these poems, like existence itself, offer moments of transcendent joy and sudden hilarity: laughter against the darkness.

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First translation of a premier Portuguese poet, winner of the Espiral Poetry Prize for the best collection of poetry in Brazil, Portugal, Angola, and GaliciaBilingual poetry editions have appreciated added valueTranslator is a big asset both in reputation and tours widely in support of publications with authors

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The Lindquist & Vennum Prize for Poetry is an annual regional prize, presented in partnership by Milkweed Editions and the Lindquist & Vennum Foundation. Established in 2011 with the aim of supporting outstanding poets and bringing their work to a national stage, the prize will award $10,000 as well as a contract for publication to the author of the winning manuscript. The winner will be selected from among five finalists by an independent judge. Previous selections include Patricia Kirkpatrick's Odessa and Michael Bazzett's You Must Remember This.

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The poems of this fourth collection from Wayne Miller exist in the wake of catastrophe. It is a world populated by rogue gunmen on shooting sprees, a world where the only inheritance a father has to pass on is his debt. In this world, every box could be a bomb and what comes after is what is lived. And yet, this painful past is not set in stone. The past becomes the present, yielding toward an immediate future.The collection coalesces around a series of &#147;post-elegies&#8221; triggered by three occurrences: the birth of his child, the death of his father, and his experience of the seeming explosion of sociohistorical and political conflict and violence over the past decade. Throughout this series, Miller processes grief, but also cuts through pain to open up a way forward in the aftermath of shared loss. Post- thrums with pathos and humor, pain and the beauty of living.

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Double Jinx follows the multiple transformations &#151; both figurative and literal &#151; that accompany adolescence and adulthood, particularly for young women. Drawing inspiration from sources as varied as Ovid&#8217;s Metamorphoses, the rewritten fairy tales in Anne Sexton&#8217;s Transformations, and the wild and shifting dreamscapes of Brigit Pegeen Kelly&#8217;s work, these poems track speakers attempting to construct identity.A series of poems depict the character of Nancy Drew as she delves into an obsession with a doppelg&#228;nger. Cinderella wakes up to a pumpkin and a tattered dress after her prince grows tired of her. A young girl obsessed with fairy tales becomes fascinated with a copy of Grey&#8217;s Anatomy in which she finds a &#147;pink girl pinned to the page as if in vivisection. Could she / be pink inside like that? No decent girl / would go around the world like that, uncooked.&#8221;The collection culminates in an understanding of the ways we construct our selves, whether it be by way of imitation, performance, and/or transformation. And it looks forward as well, for in coming to understand our identities as essentially malleable, we are liberated. Or as the author writes, &#147;we&#8217;ll be our own gods now.&#8221;

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