In his new collection, Jeffrey McDaniel confronts the insular and expansive qualities of loss. With electric language and surrealistic imagery, McDaniel’s poems deliver the quotidian elements of middle-age life while weaving us in & out of childhood and adulthood alongside body and mind. The tragic and life affirming share the same page and the same world, reminding us how close corruption can be to innocence; domesticity to fantasy; aging to youth. Jonathan We are underwater off the coast of Belize. The water is lit up even though its dark as if there are illuminated seashells scattered on the ocean floor. We’re not wearing oxygen tanks, yet staying underwater for long stretches. We are looking for the body of the boy we lost. Each year he grows a little older. Last December I opened his knapsack and stuck in a plastic box of carrots. Even though we’re underwater, we hear a song playing over a policeman’s radio. He comes to the shoreline to park and eat midnight sandwiches, his headlights fanning out across the harbor. And I hold you close, apple of my closed eye, red dance of my opened fist.

Jeffrey McDaniel's second book of poetry features dysfunctional family, heartbroken love and above all, humor.

"Reading Jeffrey McDaniel's gorgeously dark and utterly compelling Chapel of Inadvertent Joy reminds me that he is probably the most important poet in America. The book in your hands was written by a master of metaphor and a poet of huge imagination and fierce ingenuity, a fine antidote to realism. Get this voice in your head."—Major Jackson

“[A] superb study of Russian cultural memory makes all too clear, ghosts of the unburied dead affect literature, art, public life and mental health too.” —The Economist After Stalin’s death in 1953, the Soviet Union dismantled the enormous system of terror and torture that he had created. But there has never been any Russian ban on former party functionaries, nor any external authority to dispense justice. Memorials to the Soviet victims are inadequate, and their families have received no significant compensation. This book’s premise is that late Soviet and post-Soviet culture, haunted by its past, has produced a unique set of memorial practices. More than twenty years after the collapse of the Soviet Union, Russia remains “the land of the unburied”: the events of the mid-twentieth century are still very much alive, and still contentious. Alexander Etkind shows how post-Soviet Russia has turned the painful process of mastering the past into an important part of its political present. “Every page contains fresh, striking insights, not only in the intrinsic value of art itself, but more significantly in the process of mourning. . . . This brilliant book will be indispensable for scholars of mourning theories.” —Choice “There is undoubtedly much that is new and exciting in this study of the impact of state violence on the form and content of art and scholarship in post-Stalin Russia.” —Russian Review “A fascinating and haunting study of how successive Kremlin leaders and the intelligentsia have explained the Gulag and Stalin’s crimes” —Strategic Europe

How do we talk about climate grief in the church? And when we have found the words, what do we do with that grief? There is a sudden and dramatic rise in people experiencing a profound sense of anxiety in the face of our dying planet, and a consequent need for churches to be better resourced pastorally and theologically to deal with this threat. Words for a Dying World brings together voices from across the world - from the Pacific islands to the pipelines of Canada, from farming communities in Namibia to activism in the UK. Author royalties from the sale of this book are split evenly between contributors. The majority will be pooled as a donation to ClientEarth. The remainder will directly support the communities represented in this collection. Contributors include Anderson Jeremiah, Azariah France-Williams, David Benjamin Blower, Holly-Anna Petersen, Isabel Mukonyora, Jione Havea, and Maggi Dawn.

With themes ranging from twenty-nothing ennui to love poems for Julius and Ethel Rosenberg, from the trials of an academic upbringing in Philadelphia to the impossible wooing of a Muslim beauty, McDaniel paints a curious and compelling portrait of ordinary life. The result is a slightly surrealistic reading experience, with McDaniel's words expressing the humour, danger, and honest emotion of youth on the verge of the millenium.

A New York Times Notable Book of 2020 "'Saint X' is hypnotic. Schaitkin's characters...are so intelligent and distinctive it feels not just easy, but necessary, to follow them. I devoured [it] in a day." –Oyinkan Braithwaite, New York Times Book Review When you lose the person who is most essential to you, who do you become? Recommended by Entertainment Weekly, included in Good Morning America's 20 Books We're Excited for in 2020 & named as one of Vogue's Best Books to Read This Winter, Bustle's Most Anticipated Books of February 2020, and O Magazine's 14 of the Best Books to Read This February! Hailed as a “marvel of a book” and “brilliant and unflinching,” Alexis Schaitkin’s stunning debut, Saint X, is a haunting portrait of grief, obsession, and the bond between two sisters never truly given the chance to know one another. Claire is only seven years old when her college-age sister, Alison, disappears on the last night of their family vacation at a resort on the Caribbean island of Saint X. Several days later, Alison’s body is found in a remote spot on a nearby cay, and two local men–employees at the resort–are arrested. But the evidence is slim, the timeline against it, and the men are soon released. The story turns into national tabloid news, a lurid mystery that will go unsolved. For Claire and her parents, there is only the return home to broken lives. Years later, Claire is living and working in New York City when a brief but fateful encounter brings her together with Clive Richardson, one of the men originally suspected of murdering her sister. It is a moment that sets Claire on an obsessive pursuit of the truth–not only to find out what happened the night of Alison’s death but also to answer the elusive question: Who exactly was her sister? At seven, Claire had been barely old enough to know her: a beautiful, changeable, provocative girl of eighteen at a turbulent moment of identity formation. As Claire doggedly shadows Clive, hoping to gain his trust, waiting for the slip that will reveal the truth, an unlikely attachment develops between them, two people whose lives were forever marked by the same tragedy. For readers of Emma Cline’s The Girls and Lauren Groff’s Fates and Furies, Saint X is a flawlessly drawn and deeply moving story that culminates in an emotionally powerful ending.