Rachel Mennies embraces the public/private duality of writing letters in her latest collection of poems. Told through a time-honored epistolary narrative, The Naomi Letters chronicles the relationship between a woman speaker and Naomi, the woman she loves. Set mostly over the span of a single year encompassing the 2016 Presidential Election and its aftermath, their love story unfolds via correspondence, capturing the letters the speaker sends to Naomi-and occasionally Naomi's responses, as filtered through the speaker's retelling. These letter-poems form a braid, first from the use of found texts, next from the speaker's personal observations about her bisexuality, Judaism, and mental illness, and lastly from her testimonies of past experiences. As the speaker discovers she has fallen in love with Naomi, her letters reveal the struggles, joys, and erasures she endures as she becomes reacquainted with her own body following a long period of anxiety and suicidal ideation, working to recover both physically and emotionally as she grows to understand this long-distance love and its stakes-a love held by a woman for a woman, forever at a short, but precarious distance.

Rachel Mennies embraces the public/private duality of writing letters in her latest collection of poems. Told through a time-honored epistolary narrative, The Naomi Letters chronicles the relationship between a woman speaker and Naomi, the woman she loves. Set mostly over the span of a single year encompassing the 2016 Presidential Election and its aftermath, their love story unfolds via correspondence, capturing the letters the speaker sends to Naomi-and occasionally Naomi's responses, as filtered through the speaker's retelling. These letter-poems form a braid, first from the use of found texts, next from the speaker's personal observations about her bisexuality, Judaism, and mental illness, and lastly from her testimonies of past experiences. As the speaker discovers she has fallen in love with Naomi, her letters reveal the struggles, joys, and erasures she endures as she becomes reacquainted with her own body following a long period of anxiety and suicidal ideation, working to recover both physically and emotionally as she grows to understand this long-distance love and its stakes-a love held by a woman for a woman, forever at a short, but precarious distance.

Your Blue and the Quiet Lament records the textures of grief after a cousin's murder at the hands of the Syrian state reaches the poet through a long-distance phone call. The poems trace a narrative of arrest, imprisonment, and torture in Syria and interweave the difficulties a family experiences in the diaspora. Shifting between the death of poet Federico García Lorca and that of her cousin, Lubna's poetry contends with personal loss by distancing the meaning of one death through the proxy of another. Yet the distortion of distance is already there—in the language, in the geographic space, in time, in the grief itself—tinged with blue. As she recalls childhood memories and imagines conversations with her dead cousin, Lubna's poetry whispers, calls out, sings, laments, pens letters, photographs, sketches, paints, and prays in an attempt to exhaust grief.

"Coming of age as a Jewish woman in America"
In her first poetry collection, Rachel Mennies chronicles a young woman's relationship with a complicated God, crafting a nuanced world that reckons with its past as much as it yearns for a new and different future. These poems celebrate ritual, love, and female sexuality; they bear witness to a dark history, and introduce us to "our God, the / collector of stories / and bodies," a force somehow responsible for both death and liberation. Here, Mennies examines survival, assimilation, and intermarriage, subjects bound together by complex, if sometimes compromised, ties to the speaker's Judaism. Through wit and careful prosody, "The Glad Hand of God Points Backwards "lays bare the struggles and triumphs experienced through a teenage girl's coming of age, showing the reader what it means to become--and remain--a Jewish woman in America.

The Twenty-Sixth Winner of the Walt McDonald First-Book Prize in Poetry. Prospect comprises poems about vantage points, country and personhood, and the difficulty of understanding what is true. Through meticulously articulated explorations of knowledge, truth, language, and science's explanatory power, Prospect propels us toward grasping even the metaphysical. Claire Sylvester Smith was drawn to medicine-and ultimately ophthalmology-because of the challenge it offered in terms of scientific inquiry. The drive to be exacting and precise with subjects as wildly anomalous as patients is the same that governs her poetry: she engages with the possible precisions of language and fact while appreciating intrinsic imperfections in humans and therefore anything human made. Such a vantage point affords intricate ways of seeing, of investigating how subjective and personal any sensory experience can be. Presented in four parts-Prospect, Country, Proof, and Studies on Anatomy and Mourning-Prospect offers a vision of life scaled as small as a cell and as large as a country, as bordered and un-bordered as a human body, and heightened by the tensions of all that cannot be known.

In her first poetry collection, Rachel Mennies chronicles a young woman's relationship with a complicated God, crafting a nuanced world that reckons with its past as much as it yearns for a new and different future. These poems celebrate ritual, love, and female sexuality; they bear witness to a dark history, and introduce us to "our God, the / collector of stories / and bodies," a force somehow responsible for both death and liberation. Here, Mennies examines survival, assimilation, and intermarriage, subjects bound together by complex, if sometimes compromised, ties to the speaker's Judaism. Through wit and careful prosody, The Glad Hand of God Points Backwards lays bare the struggles and triumphs experienced through a teenage girl's coming of age, showing the reader what it means to become-and remain-a Jewish woman in America.

Cassie Pruyn's Lena asks new questions: why we love, why we grieve. We've read elegies before, but not like this. A lush and unsparing first book, Lena asks readers to understand love--crucially, a first love, an erotic love-in the context not of a love lost but instead of an identity gained: we must consider not only "was she worth it?," but also "who has she made me?" Pruyn lets us feel what lovers feel--the magnetism, the physicality, the tenderness, the rage, the wondering--with language both musical and visceral. In these poems, the landscape is a character in itself; the past is as tangible as the present. Pruyn takes us to the "Lost Love Lounge," we ride in a "car / red as a dragon," and we observe the beloved "stick herself in the belly with a needle" in the way "she used to attach her cufflinks." This is love and grief raised to the highest power; it is a debut not to be missed.