The poems in Jenei's collection Always Different: Poems of Memory grapple with childhood, memory, and time. The poet looks back forty years and imagines himself as a boy-the narrator of the poems-looking forward into the future. Thus the poems combine moments with sweeps of time, village scenes with rumblings of societal and technological change. In the tradition of Hungarian writers Peter Nadas and Agota Kristof, Jenei grapples with war and destruction, loneliness, desire, and loss. The literary historian Eva Banki calls Jenei "one of the great masters of Hungarian free verse"-adding that his poems also hold an epic theme, "the strange underworld of the Kadar era, rural Hungary shown through a child's eye." Through their storytelling, searching, and rhythms, these poems take us into our communal yet private longing for self-knowledge, history, and home.

Lithuania's Tomas Venclova is one of Europe's greatest living poets. His work speaks with a moral depth exceptional in contemporary poetry. His poetry addresses the desolate landscape of the aftermath of totalitarianism, as well as the ethical constants that allow for hope and perseverance. The Junction brings together entirely new translations of his most recent work as well as a selection of poems from his 1997 volume Winter Dialogue. Tomas Venclova was born in 1937 in Klaipeda, Lithuania. He was one of the five founding members of the Lithuanian Helsinki Group and his activities led to a ban on publishing, exile, and the stripping of his Soviet citizenship in 1977. Since 1985 Venclova has taught Slavic languages and literature at Yale University.

Too often our use of language has become lazy, frivolous, and even counterproductive. We rely on cliches and bromides to communicate in such a way that our intentions are lost or misinterpreted. In a culture of "takeaways" and buzzwords, it requires study and cunning to keep language alive. In Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, Diana Senechal examines words, concepts, and phrases that demand reappraisal. Targeting a variety of terms, the author contends that a "good fit" may not always be desirable; delivers a takedown of the adjective "toxic"; and argues that "social justice" must take its place among other justices. This book also includes a critique of our modern emphasis on quick answers and immediate utility. By scrutinizing words and phrases that serve contemporary fads and follies, this book stands up against the excesses of language and offers engaging alternatives. Drawing on literature, philosophy, social sciences, music, and technology, Senechal offers a rich framework to make fresh connections between topics. Combining sharp criticism, lyricism, and wit, Mind over Memes argues for judicious and imaginative speech.

In Republic of Noise, Diana Senechal confronts a culture that has come to depend on instant updates and communication at the expense of solitude. Where once it was common wisdom that the chatter of the present, about the present, could not always grasp the present, today we treat 'real time' as though it were the only real time. Schools emphasize rapid group work and fragmented activity, not the thoughtful study of complex subjects. The Internet offers contact with others throughout the day and night; we lose the ability to be apart, even in our minds. Yet solitude does not vanish; it is part of every life. It plays an essential role in literature, education, democracy, relationships, and matters of conscience. Throughout its analyses and argument, the book calls not for drastic changes but for a subtle shift: an attitude that honors solitude without descending into dogma. Outspoken, lyrical, and unassuming, Senechal's book dismantles the "groupthink" that pervades our lives.