A meditation on love, the nature of California's Central Coast serves as the setting for Robert Ricardo Reese's poems. Concerns of human relationships are intimately and broadly compared to the seascape and its subjects. Reese details a man's encounters with having attachment as his sole rule of conduct. This collection is a celebratory recounting of the simple but profound experiences of love.

A poetry collection for young adults brings together some of the most compelling and vibrant voices today reflecting the experiences of teen immigrants and refugees. With authenticity, integrity, and insight, this collection of poems addresses the many issues confronting first- and second- generation young adult immigrants and refugees, such as cultural and language differences, homesickness, social exclusion, human rights, racism, stereotyping, and questions of identity. Poems by Elizabeth Acevedo, Erika L. Sánchez, Samira Ahmed, Chen Chen, Ocean Vuong, Fatimah Asghar, Carlos Andrés Gómez, Bao Phi, Kaveh Akbar, Hala Alyan, and Ada Limón, among others, encourage readers to honor their roots as well as explore new paths, offering empathy and hope for those who are struggling to overcome discrimination. Many of the struggles immigrant and refugee teens face head-on are also experienced by young people everywhere as they contend with isolation, self-doubt, confusion, and emotional dislocation. Ink Knows No Borders is the first book of its kind and features 65 poems and a foreword by poet Javier Zamora, who crossed the border, unaccompanied, at the age of nine, and an afterword by Emtithal Mahmoud, World Poetry Slam Champion and Honorary Goodwill Ambassador for UNHCR, the UN Refugee Agency. Brief biographies of the poets are included, as well. It's a hopeful, beautiful, and meaningful book for any reader.

The first historical anthology to provide a comprehensive survey of California poetry, this ground-breaking new book presents the work of 101 authors across two centuries. California Poetry includes poets as diverse as Ambrose Bierce, Yone Noguchi, Robinson Jeffers, Josephine Miles, Charles Bukowski, Ishmael Reed, Francisco X. Alarcón, and Marilyn Chin. With ample biographical and critical notes for each author, California Poetry goes beyond the limits of the ordinary anthology and provides a detailed and often intimate account of the Golden State's rich but often neglected cultural history.

A beautiful debut set around the creation of the world-famous Monterey Bay Aquarium--and the last days of John Steinbeck's Cannery Row In 1940, fifteen year-old Margot Fiske arrives on the shores of Monterey Bay with her eccentric entrepreneur father. Margot has been her father's apprentice all over the world, until an accident in Monterey's tide pools drives them apart and plunges her head-first into the mayhem of John Steinbeck's Cannery Row. Steinbeck is hiding out from his burgeoning fame at the raucous lab of Ed Ricketts, the biologist known as Doc in Cannery Row. Ricketts, a charismatic bohemian, quickly becomes the object of Margot's fascination. Despite Steinbeck's protests and her father's misgivings, she wrangles a job as Ricketts's sketch artist and begins drawing the strange and wonderful sea creatures he pulls from the waters of the bay. Unbeknownst to Margot, her father is also working with Ricketts. He is soliciting the biologist's advice on his most ambitious and controversial project to date: the transformation of the Row's largest cannery into an aquarium. When Margot begins an affair with Ricketts, she sets in motion a chain of events that will affect not just the two of them, but the future of Monterey as well. Alternating between past and present, Monterey Bay explores histories both imagined and actual to create an unforgettable portrait of an exceptional woman, a world-famous aquarium, and the beloved town they both call home.

Some people are like monarch butterflies—solitary by nature, on a passionate search for somewhere. Critically acclaimed songwriter Courtney Marie Andrews presents her first poetry collection. This poetry collection reads like a transformation, me, the narrator, being the figurative Old Monarch. Documenting this journey, the book is separated into three sections, "Sonoran Milkweed," "Longing In Flight," and "Eucalyptus Tree (My Arrival to Rest)." In the first stage of my journey, I explore my childhood in Arizona, and the naive assumptions of youth. At this stage in my journey, I am impressionable, seeing the world with all its nuances for the first time. Through the landscape of the Sonoran Desert, I explore some dark family dynamics and what a child sees. Several characters turn up in the early poems including my cowboy grandpa, and the single mother who raised me, despite many forthcomings. The early poems also explore my desire to see a brighter world of possibility beyond the dusty desert island, and see humans more clearly within the confounds of discovery. In the second stage, I have left home. I am falling in love for the first time, as I become a young woman. Finally, the last stage is the old monarch's arrival to the garden. There are a lot of metaphysical and philosophical poems in this section. I arrive at the figurative garden, and I finally understand the journey at the edge of my life. There are a lot of poems in the context of a garden here, accepting mortality and the ever-changing world. These are meant to be wise old woman poems.

Reproduction of the original: A Child’s Garden of Verses by Robert Louis Stevenson

The 2016 winner of the Walt Whitman Award of the Academy of American Poets, selected by Carolyn Forché When I make the crossing, you must not be taken no matter what the current gives. When we reach the camp, there will be thousands like us. If I make it onto the plane, you must follow me to the roads and waiting pastures of America. We will not ride the water today on the shoulders of buffalo as we used to many years ago, nor will we forage for the sweetest mangoes. I am refugee. You are too. Cry, but do not weep. —from “Transmigration” Afterland is a powerful, essential collection of poetry that recounts with devastating detail the Hmong exodus from Laos and the fate of thousands of refugees seeking asylum. Mai Der Vang is telling the story of her own family, and by doing so, she also provides an essential history of the Hmong culture’s ongoing resilience in exile. Many of these poems are written in the voices of those fleeing unbearable violence after U.S. forces recruited Hmong fighters in Laos in the Secret War against communism, only to abandon them after that war went awry. That history is little known or understood, but the three hundred thousand Hmong now living in the United States are living proof of its aftermath. With poems of extraordinary force and grace, Afterland holds an original place in American poetry and lands with a sense of humanity saved, of outrage, of a deep tradition broken by war and ocean but still intact, remembered, and lived.