Debut collection of poems that weaves stories of family history, war, and migration. Dong Li's The Orange Tree is a collection of narrative poems that braids forgotten legends, personal sorrows, and political upheavals into a cinematic account of Chinese history as experienced by one family. Amid chaos and catastrophe, the child narrator examines a yellowed family photo to find resemblances and learns a new language, inventing compound words to conjure and connect family stories. These invented words and the calligraphy of untranslated Chinese characters appear in lists separating the book's narrative sections. Li's lyrical and experimental collection transcends the individual, placing generations of family members and anonymous others together in a single moment that surpasses chronological time. Weaving through stories of people with little means, between wars and celebrations, over bridges and walls, and between trees and gardens, Li's poems offer intimate perspectives on times that resonate with our own. The result is an unflinching meditation on family history, collective trauma, and imaginative recovery. The Orange Tree is the recipient of the inaugural Phoenix Emerging Poet Book Prize for 2023.

Digression is widely considered a mark of disordered or evasive discourse. Modern legal, philosophical, and political writing largely disavows this trope, regarding it as a departure from the model of rational exposition institutionalized under the Enlightenment. And yet, as the rhetorical figure of digression has grown increasingly marginalized within the decorum of public discourse, it has come to occupy a central position in the private discursive world of poetry. Changing Subjects outlines an anatomy of 'the excursus' within twentieth-century American poetics; moving from aesthetics to the archive to narratology to theories of identity, this study considers the various spheres in which American writers of the period revise prior models of purposeful discourse by cultivating a poetics of digression in the modern poem. The opening section considers the manner in which Wallace Stevens employs digression within the ars poetica genre to deconstruct aesthetic theory under High Modernism; the second chapter examines Marianne Moore's use of the excursus to organize archival knowledge in the Progressive poetry of instruction; the third section turns to Lyn Hejinian's construction of a digressive narratology intended to unsettle master-narratives of the Cold War era; the fourth chapter treats digression as a strategy for fashioning the self in the poetry of Walt Whitman and Frank O'Hara; and the book concludes with a survey of "Elliptical" strategies employed by a new generation of poets, writing in the wake of John Ashbery's aleatory craft, who seek to extend the digressive project of American poetry into the 21st Century.

Simultaneously funny and frightful, Srikanth Reddy's Underworld Lit is a multiverse quest through various cultures' realms of the dead. Couched in a literature professor's daily mishaps with family life and his sudden reckoning with mortality, this adventurous serial prose poem moves from the college classroom to the oncologist's office to the mythic underworlds of Mayan civilization, the ancient Egyptian place of judgment and rebirth, the infernal court of Qing dynasty China, and beyond-testing readers along with the way with diabolically demanding quizzes. It unsettles our sense of home as it ferries us back and forth across cultures, languages, epochs, and the shifting border between the living and the dead.

Simultaneously funny and frightful, Srikanth Reddy's Underworld Lit is a multiverse quest through various cultures' realms of the dead. Couched in a literature professor's daily mishaps with family life and his sudden reckoning with mortality, this adventurous serial prose poem moves from the college classroom to the oncologist's office to the mythic underworlds of Mayan civilization, the ancient Egyptian place of judgment and rebirth, the infernal court of Qing dynasty China, and beyond-testing readers along with the way with diabolically demanding quizzes. It unsettles our sense of home as it ferries us back and forth across cultures, languages, epochs, and the shifting border between the living and the dead.

"In this altogether brilliant collection, the various but carefully sequenced (and deeply consequential) poems unfold in a world undergoing eclipse. It is a transient, unsettling, and fascinating phenomenon, the casting of shadows by shadows (of experience, literature, language, the natural sun) traveling across the totality of the known world: here. The process does not produce negation. It is, on the contrary, an odd plus. And the darkness is never complete; it is surprised into perceptibility by sources of counter-illumination, among them wit, intelligence, and, above all (as underlying all), love."--Lyn Hejinian

"Reddy's book is new, utterly confident, clear, true to itself. It is about any world in which any one of us in love can learn something about what has happened to us--a world utterly and deeply known: ecstatic and forlorn. This is also a confident guide to our best life and to the language of that unknown place in which we bring to mind for the first time what we think and feel. At the end, Reddy's book leaves us with a deeper understanding of the wisdom of all good guides and poets: 'Where one goes, one goes alone.'"--Allen Grossman, Mellon Professor in the Humanities, Johns Hopkins University and author of "Sweet Youth

"The present is a word for only those words which I am now saying" writes Reddy in this profoundly moving first collection. And, indeed, a search for the nature of the 'present' continuously animates this stunning, anguished yet level-headed attempt to reconstruct a history of our kind as if from some as-yet unknown vantage point. Striving for a complex objectivity, the book explodes prior notions of orientation--geographic, historical, cultural--andrecovers from the debris a profoundly trustworthy reorientation, political as well as emotional. Reddy speaks to us fully self-conscious and, strangely, fully innocent. It is a mesmerizing voice."--Jorie Graham

Srikanth Reddy's second book of poetry probes this world's cosmological relation to the plurality of all possible worlds. Drawing its name from the spacecraft currently departing our solar system on an embassy to the beyond, "Voyager" unfolds as three books within a book and culminates in a chilling Dantean allegory of leadership and its failure in the cause of humanity. At the heart of this volume lies the historical figure of Kurt Waldheim - Secretary-General of the U.N. from 1972-81 and former intelligence officer in Hitler's Wehrmacht - who once served as a spokesman for humanity while remaining silent about his role in the collective atrocities of our era. Resurrecting this complex figure, Reddy's universal voyager explores the garden of forking paths hidden within every totalizing dream of identity.