Praise for Saeed Jones: "Jones is the kind of writer who's more than wanted: he's desperately needed."—FlavorWire "I get shout-happy when I read these poems; they are the gospel; they are the good news of the sustaining power of imagination, tenderness, and outright joy."—D. A. Powell "Prelude to Bruise works its tempestuous mojo just under the skin, wreaking a sweet havoc and rearranging the pulse. These poems don't dole out mercy. Mr. Jones undoubtedly dipped his pen in fierce before crafting these stanzas that rock like backslap. Straighten your skirt, children. The doors of the church are open."—Patricia Smith "It's a big book, a major book. A game-changer. Dazzling, brutal, real. Not just brilliant, caustic, and impassioned but a work that brings history—in which the personal and political are inter-constitutive—to the immediate moment. Jones takes a reader deep into lived experience, into a charged world divided among unstable yet entrenched lines: racial, gendered, political, sexual, familial. Here we absorb each quiet resistance, each whoop of joy, a knowledge of violence and of desire, an unbearable ache/loss/yearning. This is not just a "new voice" but a new song, a new way of singing, a new music made of deep grief's wildfire, of burning intelligence and of all-feeling heart, scorched and seared. In a poem, Jones says, "Boy's body is a song only he can hear." But now that we have this book, we can all hear it. And it's unforgettable."—Brenda Shaughnessy "Inside each hunger, each desire, speaks the voice of a boy that admits "I've always wanted to be dangerous." This is not a threat but a promise to break away from the affliction of silence, to make audible the stories that trouble the dimensions of masculinity and discomfort the polite conversations about race. With impressive grace, Saeed Jones situates the queer black body at the center, where his visibility and vulnerability nurture emotional strength and the irrepressible energy to claim those spaces that were once denied or withheld from him. Prelude to a Bruise is a daring debut."—Rigoberto González From "Sleeping Arrangement": Take your hand out from under my pillow. And take your sheets with you. Drag them under. Make pretend ghosts. I can't have you rattling the bed springs so keep still, keep quiet. Mistake yourself for shadows. Learn the lullabies of lint. Saeed Jones works as the editor of BuzzfeedLGBT.

The first of two prequel novels in Isaac Asimov’s classic science-fiction masterpiece, the Foundation series THE EPIC SAGA THAT INSPIRED THE APPLE TV+ SERIES FOUNDATION It is the year 12,020 G.E. and Emperor Cleon I sits uneasily on the Imperial throne of Trantor. Here in the great multidomed capital of the Galactic Empire, forty billion people have created a civilization of unimaginable technological and cultural complexity. Yet Cleon knows there are those who would see him fall—those whom he would destroy if only he could read the future. Hari Seldon has come to Trantor to deliver his paper on psychohistory, his remarkable theory of prediction. Little does the young Outworld mathematician know that he has already sealed his fate and the fate of humanity. For Hari possesses the prophetic power that makes him the most wanted man in the Empire . . . the man who holds the key to the future—an apocalyptic power to be known forever after as the Foundation.

Poetry. Asian & Asian American Studies. "No one has written a finer, stranger, more enjoyably various and intelligent long poem than Jason's Koo's 'No Longer See,' the central poem in his splendid new book, MORE THAN MERE LIGHT. Schuyler and Knausgaard, Proust and Ashbery, to name just a few, meld into a poetic performance that is joyfully bent, and as gloriously funny as it is self-castigating. Underscoring all this is a sorrowing sense of self that can't shake free of time--time as it drags or stops or flies during romance and sex and the passage from domestic happiness to failure, and as it marks off the progress of a poetry and a life coming into its full, vital strength. With a cool-eyed detachment from his own drama, Koo has written a book that is unforgettable in its candor, its disabused self-knowledge, and its generosity of spirit."--Tom Sleigh "This book is about falling, a lot. There are good falls and uncomfortable falls and quiet falls and in-between falls and falling in and out of love with other people and yourself--as Koo aptly writes, 'That was a falling.' Koo is brilliant at mastering the often anxious way we talk to ourselves in our heads, as a way to recall moments and construct memories, justify behavior to oneself, and explore the roles of gender dynamics and sexuality within a world full of distractions in an often strange modern technological landscape. Throughout the collection, Koo is wonderfully narrative, bringing us into the speaker's world, full of jazz and biking and Brooklyn and girlfriends and students and conversations with both an overload of self-consciousness and a lack of it all at the same time ('What's okay, okay?'). The speaker's unabashed ability to be excessive while also having the reader rely on silence, on what isn't told, creates a captivating world for the reader to explore--and most importantly, see themselves fully immersed in as they navigate their own bizarre lives and landscapes. Read it over and over and over again, so you can, as Koo says, drop back 'against the light.'"--Joanna C. Valente

Leading American and British textual editors respond to the recent radical overhaul in the editing of Romantic texts in the light of developments in critical theory.

The Open Book is a provocative study of literary influence at work in English writing from Hardy to Woolf. Jensen reimagines the links between text and context as she endeavors to historicize literary influence, by taking Bloomian 'anxiety' and Kristevan 'intertextuality' into fields of actual history and biography. Jensen both borrows from and deconstructs the ideas of these theorists as she reads the texts of Hardy, Stephen, Woolf, Mansfield, and Middleton Murry. By doing so, The Open Book offers a fresh and pragmatic opening onto the relation between personal, cultural and institutional history on the one hand, and literary history on the other.