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Poetry. How do we care for a broken world, especially when we ourselves are broken-hearted? How do we nurture others when we have scarce resources? How do we maintain our own sense of self under these pressures? The work of care falls disproportionately on women and often renders them lacking and unacknowledged in their labor. GENTLEWOMEN explores personal and historical trauma, bonds between mothers and sisters, and our estrangement from the natural world and from ourselves due to an exploitative and extractive relationship to land and peoples (human and otherwise). Through an allegorical envisioning of a world that is like our own but heightened through the individual lives and responsibilities of three sisters, Natura, Providentia, and Fortuna, the poems sound out in mourning and frustration--and try to imagine the world otherwise. A transformative journey through the shadows towards reconciliation both between sisters and with oneself.

Poetry. DEEP CITY renders the city and the body as architectures in crisis. The poems explore the city and suburbs as container and contents of collective memory and investigate how space shapes the body/ how we create space. They examine language and identity in the pathology of late capitalism, with its unaffordable housing, healthcare, and educational systems, exploitive labor practices, and continuous violence on its citizens. DEEP CITY captures city as site for these myriad interactions, locating the body in space in relation to people, animals, architectures, and technologies. The city also becomes site to explore the self in relation to its urban exteriority, working to question the limits of the construction of self and subjectivity. Riffing on themes of urban decay, suburban housing developments, and the works of Julia Kristeva, Young Jeezy, and Honoré de Balzac, DEEP CITY explores what happens when narrated identity becomes both essential and unbearable.

Poetry. "Megan Kaminski's book is hauntingly quiet, but not silent, just as 'teleology is not silent.' The book is in some ways the teleology of imagism, realizing itself late in history and bursting into jagged pieces, having been dragged through 'some saffron metropolis' and the long summer of the great plains. It is a book that approaches us cannily, drenched in form, never word-spent and never without cocktails; a 21st century pleasure with a keen eye on the terrain and something to say." --Joshua Clover

Adopting an interdisciplinary approach, this volume explores representations of skin in literature, art, art history, visual media, and medicine and its history. The essays collected here probe the symbolic potential of skin as a shifting sign in various historical and cultural contexts, and also examine the material and organic properties of the body s largest organ. Skin is regarded as a medium, a canvas, a surface, and an object of both artistic and medical investigations. The contributions investigate representations of skin in sculpture, painting, film, and fictional, as well as non-fictional, texts from the 16th century to the present. Contains:
Baker JE and Marie Bannerot McInerey, (2015). VENTRICULUS: RESIDUE OF SUBJECTIVITY.

Rane Arroyo -- Tomás Riley -- Andrés Rodríguez -- Angela Cervantes -- Chato Villalobos -- Gabriela N. Lemmons -- Gloria Martinez Adams -- Gloria Vando -- Gustavo Adolfo Aybar -- Jennifer Prado -- José Faus -- Linda Rodriguez -- Marcelo Xavier Trillo -- Maria Vasquez Boyd -- Xánath Caraza.