Originally ephemeral pamphlets sold by traveling peddlers, or ‘chap-men’, chapbooks have enjoyed a long and illustrious history, surviving in print form from the sixteenth century until today--in fact, much contemporary poetry has first appeared in small-press chapbooks, most frequently folded sheets stapled in the crease. BlueRose compiles ten chapbooks by Michael R. Collings, with publication dates ranging from the early 1980s to 2011. Individually they explore a variety of themes, topics, and forms--the wit and cleverness of limericks; the ethereal grace of haiku; the directness and humor of children’s verses. One of the chapbooks contains only short poems, several of them one or two words long; another is a single extended look into the mind and career of one of the greatest sixteenth-century poets through the mediation of his mother’s will. One celebrates vitality and energy; another celebrates loving memories of lives well spent. All present readers with carefully chosen words woven into thought-provoking lines. Fans of Michael R. Collings's work will find in this new collection a treasure trove of words and thoughts and feelings to savor and enjoy.

No artist creates his works in a vacuum. Beyond the conscious influence of books read, artwork seen, minds probed (through conversation or exchange of letters), writers are in no small part products of everything that surrounds them--people, places, things, events. MILTON'S CENTURY is designed to place one particular genius--John Milton, arguably the finest poet the English nation (perhaps even Western civilization) has produced--in the context of his time. And what a remarkable time it was--a century of revolutions, of discoveries, of literary and artistic efflorescence, of religious turmoil and political turbulence, of plagues and fires and ultimate rebuilding...and of the first adumbrations of the Modern Age. MILTON'S CENTURY becomes vital and alive for twenty-first-century readers through the vast network of connections and interconnections that Professor Collings articulates. [Borgo Literary Guides, No. 15.]

The year's best, and darkest, tales of terror, showcasing the most outstanding new short stories by both contemporary masters of the macabre and exciting newcomers. As ever, this acclaimed anthology also offers a comprehensive overview of the year in horror, a necrology of recently deceased luminaries, and a list of indispensable addresses horror fans and writers. The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction.

The year's best, and darkest, tales of terror, showcasing the most outstanding new short stories and novellas by both contemporary masters of the macabre and exciting newcomers. As ever, this acclaimed anthology also offers the most comprehensive annual overview of horror around the world in all its incarnations; a comprehensive necrology of famous names; and a list of indispensable contact addresses for the dedicated horror fan and writer alike. The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to presenting the best in contemporary horror fiction.

New and sensitive ... raw, in-the-moment mothering feelings. -Sarah Cannon, author of The Shame of Losing In Birth of a Daughter, Samantha Kolber deftly reveals the private world of pregnancy and birth-the middle of the night and light of day worries about safety, connection, and intimacy, weighing what shifts, writing, "I am marked. I am one becoming two, becoming one / again...my body deceives me." Indeed, these poems are brave in their accounting of the pregnant, birthing body, the realities of mothering, and the territory we enter-"oh, these worlds we are now / you and I." Dailiness and milestones merge here, bringing us on a journey that is part emotional travelogue, part wonder, part weighing of generations and of our times, and part arrival at the precise awareness that, "I am witness. I am mother." Kolber's voice is an important one, honoring what is often kept hidden. - Kerrin McCadden, author of Keep This to Yourself In her startling, beautiful new collection, Birth of a Daughter, Samantha Kolber pulls us into the time-out-of-time experience of pregnancy and motherhood. Alert to the expanded "porous" boundaries of both body and self, Kolber writes with intimate, visceral authority: "I am / clearly awake." Like salt-water pearls, these raw, gorgeous poems glow, capturing the wild internal variations felt just holding a new child or toddler in your arms, exhausted and exhilarated. "I am me plus and minus the cells expunged to create you, daughter," Kolber writes, ever-attuned to the possibility of artistic sublimation to the hunger of her infant daughter. This collection affirms Kolber's territorial claim to the mother-as-artist: "sucking what light I make / into the core of you / oh, these worlds we are now." - Megan Buchanan, author of Clothesline Religion

What happens when a former Zen Buddhist monk and his feminist wife experience an apparition of the Virgin Mary? “This book could not have come at a more auspicious time, and the message is mystical perfection, not to mention a courageous one. I adore this book.”—Caroline Myss, author of Anatomy of the Spirit Before a vision of a mysterious “Lady” invited Clark Strand and Perdita Finn to pray the rosary, they were not only uninterested in becoming Catholic but finished with institutional religion altogether. Their main spiritual concerns were the fate of the planet and the future of their children and grandchildren in an age of ecological collapse. But this Lady barely even referred to the Church and its proscriptions. Instead, she spoke of the miraculous power of the rosary to transform lives and heal the planet, and revealed the secrets she had hidden within the rosary’s prayers and mysteries—secrets of a past age when forests were the only cathedrals and people wove rose garlands for a Mother whose loving presence was as close as the ground beneath their feet. She told Strand and Finn: The rosary is My body, and My body is the body of the world. Your body is one with that body. What cause could there be for fear? Weaving together their own remarkable story of how they came to the rosary, their discoveries about the eco-feminist wisdom at the heart of this ancient devotion, and the life-changing revelations of the Lady herself, the authors reveal an ancestral path—available to everyone, religious or not—that returns us to the powerful healing rhythms of the natural world.

Nominated, 2023 Teaching Literature Book Award Indian Science Fiction has evolved over the years and can be seen making a mark for itself on the global scene. Dalit speculative fiction writer and editor Mimi Mondal is the first SF writer from India to have been nominated for the prestigious Hugo award. In fact, Indian SF addresses themes such as global climate change. Debates around G.C.C are not just limited to science fiction but also permeate in critical discussions on SF. This volume seeks to examine the different ways by which Indian SF narratives construct possible national futures. For this looking forward necessarily germinates from the current positional concerns of the nation. While some work has been done on Indian SF, there is still a perceptible lack of an academic rigor invested into the genre; primarily, perhaps, because of not only its relative unpopularity in India, but also its employment of futuristic sights. Towards the same, among other things, it proposes to study the growth and evolution of science fiction in India as a literary genre which accommodates the duality of the national consciousness as it simultaneously gazes ahead towards the future and glances back at the past. In other words, the book will explore how the tensions generated by the seemingly conflicting forces of tradition and modernity within the Indian historical landscape are realized through characteristic tropes of SF storytelling. It also intends to look at the interplay between the spatio-temporal coordinates of the nation and the SF narratives produced within to see, firstly, how one bears upon the other and, secondly, how processes of governance find relational structures with such narratives. Through these, the volume wishes to interrogate how postcolonial futures promise to articulate a more representative and nuanced picture of a contemporary reality that is rooted in a distinct cultural and colonial past.