Explores what it is like to be a woman, a person of color, an immigrant, and a headscarf-wearing Muslim in a non-Muslim country.

“Mohja Kahf ’s Hagar Poems is brilliantly original in its conception, thrillingly artful in its execution. Its range is immense, its spiritual depth is profound, it negotiates its shifts between archaic and the contemporary with utmost skill. There’s lyricism, there’s satire, there’s comedy, there’s theology of a high order in this book.” —Alicia Ostriker, author of For the Love of God: The Bible as an Open Book “Hagar/ Hajar the immigrant/exile/outcast/refugee mother of a people is given multiple voices and significance in Mohja Kahf’s new book of dramatic monologues, which also reinvents Pharaoh’s daughter, Zuleika, Aïsha, and Mary in poems that are at once lively and learned, agnostic and devout. The sequence on an American mosque, and the poet’s ambivalent love for what it represents, is unique in American poetry.” —Marilyn Hacker, author of A Stranger’s Mirror “‘Where have all the goddesses gone,’ writes Mohja Kahf, ‘I tracked down Isis / incognito on Cyprus. /She told me Ishtar / lived under the radar / in southern Iraq. . . .’ In Hagar Poems, Mohja Kahf’s hallmark qualities—irreverence, imagination, wit, poignancy—are all exuberantly in evidence. A wonderful read.” —Leila Ahmed, author of A Quiet Revolution: The Veil’s Resurgence, from the Middle East to America “This brilliant collection captures all the ‘patient threading of relationship’ between Hagar and Sarah as between women, and then between women and men, between human and God. . . . At every turn of the page [Kahf] refuses complacency and circumstance but opts instead for exposing the tenuousness of threads that tie and bind and then come loose before our eyes.” —From the foreword by Amina Wadud The central matter of this daring new collection is the story of Hagar, Abraham, and Sarah—the ancestral feuding family of Judaism, Christianity, and Islam. These poems delve into the Hajar story in Islam. They explore other figures from the Near Eastern heritage, such as Mary and Moses, and touch on figures from early Islam, such as Fatima and Aisha. Throughout, there is artful reconfiguring. Readers will find sequels and prequels to the traditional narratives, along with modernized figures claimed for contemporary conflicts. Hagar Poems is a compelling shakeup of not only Hagar’s story but also of current roles of all kinds of women in all kinds of relationships.

Syrian immigrant Khadra Shamy is growing up in a devout, tightly knit Muslim family in 1970s Indiana, at the crossroads of bad polyester and Islamic dress codes. Along with her brother Eyad and her African-American friends, Hakim and Hanifa, she bikes the Indianapolis streets exploring the fault-lines between "Muslim" and "American." When her picture-perfect marriage goes sour, Khadra flees to Syria and learns how to pray again. On returning to America she works in an eastern state -- taking care to stay away from Indiana, where the murder of her friend Tayiba's sister by Klan violence years before still haunts her. But when her job sends her to cover a national Islamic conference in Indianapolis, she's back on familiar ground: Attending a concert by her brother's interfaith band The Clash of Civilizations, dodging questions from the "aunties" and "uncles," and running into the recently divorced Hakim everywhere. Beautifully written and featuring an exuberant cast of characters, The Girl in the Tangerine Scarf charts the spiritual and social landscape of Muslims in middle America, from five daily prayers to the Indy 500 car race. It is a riveting debut from an important new voice.

In Spectacle, Lauren Goodwin Slaughter's second full-length collection, the poet deepens her commitment to the enduring and eternal subjects of womanhood, motherhood, and family, and deftly considers how those devotions intersect in ways joyful, mysterious, and cruel within personal and political landscapes. Slaughter’s poems seek out and explore authentic, raw humanity, at times employing the gaze of Dutch photographer and artist, Rineke Dijkstra—several of whose photographic portraits are included in the collection alongside ekphrastic poems—as a lens to view what Dijkstra calls the "uninhibited moment.” When artistic eye meets the fierceness of subject, the result is poetry deeply rooted in its lyricism and empathy, grounded in its depth of emotion, and unflinching in its alertness to the poet's beloveds and world.

In an environment of increasing conservatism, in a world where a woman's right to wear the headscarf has become a touchstone for issues of all sorts, and at a time when racial and religious profiling has become commonplace, it is our political and social

EM"Tell me how to live so many lives at once ..."/em Fowzi, who beats everyone at dominoes; Ibtisam, who wanted to be a doctor; Abu Mahmoud, who knows every eggplant and peach in his West Bank garden; mysterious Uncle Mohammed, who moved to the mountain; a girl in a red sweater dangling a book bag; children in velvet dresses who haunt the candy bowl at the party; Baba Kamalyari, age 71; Mr. Dajani and his swans; Sitti Khadra, who never lost her peace inside. EMMaybe they have something to tell us./em Naomi Shihab Nye has been writing about being Arab-American, about Jerusalem, about the West Bank, about family all her life. These new and collected poems of the Middle East -- sixty in all -- appear together here for the first time.