Archive for Pre-Order

DESPOJO by Tatiana Figueroa Ramirez Available for Pre-Order $19

Praise for Despojo


What Tatiana has done with Despojo is pure delight! She offers home, love, peace and healing. Her heritage woven into each line, sharing her roots and the wisdom from her ancestors. With each poem, she tells a story with a quiet yet bold flare that only she possesses. Masterfully written and a complete gem is this masterpiece!

—C. Thomas, Poet & Author of Bernard’s Bedroom

Despojo waters us with a conversation of identity Caribeños know all too well. A refreshing exploration of both wanting to belong and tracing back all that makes us feel seen. This collection reminds us that it is in the
shedding of skin that we learn to mend.

—Melania-Luisa Marte, Poet & Author of Mela

Despojo is a testament to so many things: the pain and healing in the aftermath of sexual violence, the lineages Tatiana honors and writes within, the fact that love is a verb. The poems in Despojo carry an impossible
amount of compassion for their subjects. I learn from Tatiana Figueroa Ramirez the act of staying put and just looking; she is a poet deeply invested in witnessing her family and ancestry, in writing with an uncompromising
eye towards balancing the truth and the turmoil. She never turns away. I am so lulled by her language, which is so skillful it has a spine. Flowers dot the pages, the air becomes thinner and sweet with molasses. Do yourself a favour and learn what it really means to trace lineage, to write with strength towards people who have hurt you, to stand and carry an entire
history on your shoulders.

—Nancy Huang, Author of Favorite Daughter

Andrea “Vocab” Sanderson’s “She Lives in Music”

Andrea’s new collection She Lives in Music (FlowerSong Books, 2020)

“I am such a fan of Vocab’s powerful voice and visions.” 

-Naomi Shihab Nye, Poetry Foundation’s Young People’s Poet Laureate

“When you enter this temple of rhythm Vocab has so masterfully constructed, you best bring your dancing shoes. She has perfected a style of free-verse that tours through the senses like a band: beating like a drum, wailing like a trumpet, thumping like a bass, casting a spell only the truest jazz artists can conjure.”  -Charles “EasyLee” Peters 

“Andrea “Vocab” Sanderson is the “remix” and the mystery; the “edible melody” and the bass thump; the original and the new version of her own profound song.   Rhythm and sound, “4 beats to a measure,” read these poems for they will answer you in music.”

-Octavio Quintanilla, San Antonio Poet Laureate, 2018-2020

Xánath Caraza’s “Corta la piel/It Pierces the Skin” Now Available

Xánath Caraza’s “Corta la piel/It Pierces the Skin” is a remarkable collection of prose poems in which we see the conjuring poet fearless enough to take us through personal, political and geographical terrains.  The poems are muscular meditations on rage, powerlessness, love, and ultimately the sanctity/sanity of poetry.  The title fits into the visceral world filled with the
paradoxes of beauty and violence that Caraza is famous for: the fierce loneliness of the New York city trains over the Hudson, Violeta (the Salvadoran speaker, the figure who is observed, the writer who is writing the poem) discerns the full moon as “Icy, splendid, silvery white.”  In
one of her most poignant political poems, we encounter the disappeared forty-third student from Ayotzinapa who sees “The stars in the heavens were shining like never before” while his mouth is “buzzing with flies.” Another poem, “Our Sons and Daughters,” captures the heartbreaking evil of separating children from their parents at the border.  Water becomes an ever increasing trope throughout as we move from New York to Lisbon to Athens, an element essential for survival as poetry itself, the poet’s “liquid words” joining the river of memory.  They “flow on placid waters.  They sway back and forth in her mouth.”  Xánath Caraza is one of the most courageous Latina poets writing today. The “silent voice of dawn gallops” towards something framed in hope, and Caraza’s poems leave you light headed, sorrowful, yet empowered.


—Helena Maria Viramontes 

This is a book of beautiful, poetic images of loneliness, grief and emptiness. The persona of Violeta tells of a violent childhood of abandonment and impossible love via her travels in New York, Portugal, and Greece. For Violeta, only ink remains; only ink is indelible. Translator Sandra Kingery and her team of students have produced smooth, faithful translations that carry all of the sorrow of Caraza’s originals.

—Don Cellini
poet / translator
Piedra poemas / Stone Poems

Codex of Love: Bendita ternura Poems by Liliana Valenzuela

Estos son poemas sin el qué dirán, sin censura, sin vergüenza, uncensored, unbottoned, unapologetic, nadando naked entre los muchos mundos que habitan las mujeres, ardiendo de azufre y volcanes, envuelta en hojas de maíz y de plátano, dando saltos mortales entre el aquí y el allá, y ese vientre fértil de por medio.

These are poems sin el qué diránsin censurasin vergüenza, uncensored, unbuttoned, unapologetic, swimming desnuda between the many worlds women inhabit, blazing of sulphur and volcanoes, wrapped in corn husks and banana leaves, somersaulting between here and allá, and that fertile womb in between.

—Sandra Cisneros, author of The House on Mango Street 

Coatlicue Girl A Bilingual Collection of Poems and Stories by Gris Muñoz NOW AVAILABLE!

Foreword by 

   Luis Alberto Urrea  

Tonantzin in El Paso

I first became aware of Gris during my many visits to El Paso related first to my books about The Saint of Cabora. My tia, Teresita. I hung out with the Byrds, of Cinco Punto Press, and my friend Benjamin Saenz. Crawled cemeteries and Segundo Barrio. Shopped for curandera herbs in Juarez. Then came back to write about the town for various publications.  

At the height of the narco depredations across the river, Gris appeared in my inbox. 

Having come up amidst the Chicano revolutionary days, a time when we were all seemingly a familia, we all worked on mad projects and world-saving Quixotadas, and nobody was ever formal with each other, I fell right in with her. Esta Gris seemed to believe, like I still do, that it is 1977 and we are all together saving the Raza and the country. She reminded me of all the homies and warriors I knew then

–Alurista, Angela de Hoyos, Ricardo Sanchez, Lorna Dee Cervantes, Rudy Anaya. You can fill in the blanks: pick any santa or santo who stood up and cried out for us.

Although she was discreet about her output, I slowly became aware of her writing, and of her dreams. And I was thrilled when the many words she was crafting and sharing in anthologies and journals coalesced into this first book. It is a vivid, wind-swept thing, this ritual. Multi-lingual, woven with faiths that are ancient and various and somehow one. Feminist, ancient, sophisticated and fervent. Gris moves from poetry to prose and back again. Like so many great Chicana scriptures laid down in our pasts, this is an announcement of arrival and a crie de coeur.

But let us never forget it is also a crie de guerre.  

This is the border, cabrones, the mero desierto. This is Apache blood in the veins. This is a dancer and a poet and a healer talking. A rock and roll curandera with a syncretistic religious heart. Tossing off chains as she goes.

I soon started to recognize Gris. I started to see the same spirit that moved in Teresita, La Santa. And the medicine women who taught me their secrets so I could write my books. That’s when I started calling her Tonantzin.

So happy this immense journey has begun. May many travel with you, hermanita.

L.A.U.

Chicago c/s