“At the edge of the world, you’ll want to have this book. The final lines of Adam Clay’s poem, ‘Scientific Method,’ have been haunting me for weeks.” —Iowa Press-Citizen The distilled, haunting, and subtly complex poems in Adam Clay’s A Hotel Lobby at the Edge of the World often arrive at that moment when solitude slips into separation, when a person suddenly realizes he can barely see the place he set out from however long ago. He now sees he must find his connection back to the present, socially entangled world in which he lives. For Clay, reverie can be a siren’s song, luring him to that space in which prisoners will begin “to interrogate themselves.” Clay pays attention to the poet’s return to the world of his daily life, tracking the subtly shifting tenors of thought that occur as the landscape around him changes. Clay is fully aware of the difficulties of Thoreau’s “border life,” and his poems live somewhere between those of James Wright and John Ashbery: They seek wholeness, all the while acknowledging that “a fragment is as complete as thought can be.” In the end, what we encounter most in these poems is a generous gentleness—an attention to the world so careful it’s as if the mind is “washing each grain of sand.” “Poems that are in turn clear and strange, and always warmly memorable.” —Bob Hicok “These poems engage fully the natural world . . . even as they understand the individual’s exclusion from it.” —Publishers Weekly

When Tina S. meets April, a teenage runaway, she thinks she's found her best friend. She leaves behind her dysfunctional family to join April in the tunnels of Grand Central Station amidst the homeless and drug addicted. Soon she's bingeing on crack--just like April--and stealing, scamming and panhandling to support her habit and to survive on the streets. In her own words, she describes her descent into crack addiction, being raped in the tunnels, her several arrests and jail terms and her grief and guilt over the death of April, whom she'd come to love. Finally faced with the reality that she might not make it through one more day, Tina takes her first difficult steps towards a normal life. With the help of a homeless advocate and his wife, a gay uncle dying of AIDS, and the woman who was to become her co-author on this book, Tina turns her life around and makes her way back to the world of the living.

Richard Longstreth provides a detailed picture of the early careers of four architects—Bernard Maybeck, Willis Polk, Ernest Coxhead, and A.C. Schweinfurth—who had a decisive impact on the course of design in the San Francisco Bay Area and who stand as significant contributors to American architecture.

BOOKER PRIZE FINALIST • Forget room service: this is a riotous elegy, a deadpan celebration of colliding worlds, and a spirited defense of love. Blending incisive wit with surprising compassion, Hotel World is a wonderfully invigorating, life-affirming book. Five people: four are living; three are strangers; two are sisters; one, a teenage hotel chambermaid, has fallen to her death in a dumbwaiter. But her spirit lingers in the world, straining to recall things she never knew. And one night all five women find themselves in the smooth plush environs of the Global Hotel, where the intersection of their very different fates make for this playful, defiant, and richly inventive novel.

By the author of Planetwalker, The Ragged Edge of Silence takes us to another level of appreciating, through silence, the beauty of the planet and our place in it. John Francis's real and compelling prose forms a tapestry of questions and answers woven from interviews, stories, personal experience, science, and the power of silence through history, including practice by Native American, Hindu, and Buddhist cultures. Through their time-honored traditions and his own experience of communicating silently for 17 years, Francis's practical exercises lay the groundwork for the reader to build constructive silence into everyday life: to learn more about oneself, to set goals and accomplish dreams, to build strong relationships, and to appreciate and be a steward of the Earth. With its amazing human interest element and first-person expertise, this book is energizing and universally instructive.

"Sentimental, heartfelt….the exploration of Henry’s changing relationship with his family and with Keiko will keep most readers turning pages...A timely debut that not only reminds readers of a shameful episode in American history, but cautions us to examine the present and take heed we don’t repeat those injustices."-- Kirkus Reviews “A tender and satisfying novel set in a time and a place lost forever, Hotel on the Corner of Bitter and Sweet gives us a glimpse of the damage that is caused by war--not the sweeping damage of the battlefield, but the cold, cruel damage to the hearts and humanity of individual people. Especially relevant in today's world, this is a beautifully written book that will make you think. And, more importantly, it will make you feel." -- Garth Stein, New York Times bestselling author of The Art of Racing in the Rain “Jamie Ford's first novel explores the age-old conflicts between father and son, the beauty and sadness of what happened to Japanese Americans in the Seattle area during World War II, and the depths and longing of deep-heart love. An impressive, bitter, and sweet debut.” -- Lisa See, bestselling author of Snow Flower and the Secret Fan In the opening pages of Jamie Ford’s stunning debut novel, Hotel on the Corner of Bitter and Sweet, Henry Lee comes upon a crowd gathered outside the Panama Hotel, once the gateway to Seattle’s Japantown. It has been boarded up for decades, but now the new owner has made an incredible discovery: the belongings of Japanese families, left when they were rounded up and sent to internment camps during World War II. As Henry looks on, the owner opens a Japanese parasol. This simple act takes old Henry Lee back to the 1940s, at the height of the war, when young Henry’s world is a jumble of confusion and excitement, and to his father, who is obsessed with the war in China and having Henry grow up American. While “scholarshipping” at the exclusive Rainier Elementary, where the white kids ignore him, Henry meets Keiko Okabe, a young Japanese American student. Amid the chaos of blackouts, curfews, and FBI raids, Henry and Keiko forge a bond of friendship–and innocent love–that transcends the long-standing prejudices of their Old World ancestors. And after Keiko and her family are swept up in the evacuations to the internment camps, she and Henry are left only with the hope that the war will end, and that their promise to each other will be kept. Forty years later, Henry Lee is certain that the parasol belonged to Keiko. In the hotel’s dark dusty basement he begins looking for signs of the Okabe family’s belongings and for a long-lost object whose value he cannot begin to measure. Now a widower, Henry is still trying to find his voice–words that might explain the actions of his nationalistic father; words that might bridge the gap between him and his modern, Chinese American son; words that might help him confront the choices he made many years ago. Set during one of the most conflicted and volatile times in American history, Hotel on the Corner of Bitter and Sweet is an extraordinary story of commitment and enduring hope. In Henry and Keiko, Jamie Ford has created an unforgettable duo whose story teaches us of the power of forgiveness and the human heart. BONUS: This edition contains a Hotel on the Corner of Bitter and Sweet discussion guide and an excerpt from Jamie Ford's Love and Other Consolation Prizes.

“The more I sit with these poems, the more they resonate with me and with universal patterns and themes—existential inquiries, loneliness, spiritual doubts.” —Green Mountains Review To Make Room for the Sea reckons with the notion that nothing in this world is permanent. Led by an introspective speaker, these poems examine a landscape that resists full focus, and conclude that “it’s easier to love what we don’t know.” “I hold this leaf I think / you should see, but I can’t quite / say why,” Adam Clay writes, as he navigates a variety of both personal and ecological fixations: disembodied bullfrog croaks, the growth of his child, a computer’s dreaded blue screen of death. The observations in To Make Room for the Sea convey both grief for the Anthropocene and hope for the future. The poems read like field notes from someone who knows the world and hopes to know it differently. On the precipice of great change and restructured perspective, Clay’s poems linger in “the second between taking in a vision and processing it,” in the moment when the world is less a familiar system and more a palette of colors and potential. To Make Room for the Sea delights as much as it mourns. It looks forward as much as it reflects. Deft and hopeful, the poems in this collection gently encourage us to take another look at a world “only some strange god might have thought up / in a drunken stumble.” “That’s the magic of this book—the way Adam Clay, line after line, enacts the mind on the page.” —Maggie Smith “Draws from an impressive repertoire of forms to tease out complex questions regarding time, epistemology, and memory.” —Publishers Weekly