Toxicon Arachne

'The power of McSweeney's work cannot be separated from its association with forms of oracle and soothsaying, and so it is uncanny that it should arrive in the middle of a global pandemic... Frightening and brilliant' Dan Chiasson, New Yorker How does the body gestate grief? How does toxicity birth catastrophe? In the months leading up to her daughter Arachne's birth, US poet Joyelle McSweeney set out to write a quiver of poems like a quiver of poison arrows: formally and sonically virtuosic, laced with the poet's obsessive concerns with contamination, decay and the sublime, featuring a crown of 'toxic sonnets' for the tuberculosis bacterium that killed Keats. But when Arachne was born with an unexpected birth defect, lived briefly and died, the poet was visited by a second welter of poems, odes of love, grief, perplexity and rage. These two books, Toxicon & Arachne, form a double collection of poems weighing love, grief, art and survival in increasingly toxic days. Toxicon & Arachne is the culmination of eight years of engagement with lyric under a regime of global and personal catastrophes.

This virtuosic poetry collection asks: how does the body gestate grief? How does toxicity birth catastrophe?

An exploration of poetry as an expression of biology

A new generation of food activists has come to believe that “sustainable farming” and “eating local” are the way to solve a host of perceived problems with our modern food supply system. By combining healthy eating and a high standard of environmental stewardship, these locavores think, we can also deliver important economic benefits and increase food security within local economies. But after a thorough review of the evidence, economic geographer Pierre Desrochers and policy analyst Hiroko Shimizu have concluded these claims are mistaken. In The Locavore’s Dilemma, they explain the history, science, and economics of food supply to reveal what locavores miss or misunderstand: the real environmental impacts of agricultural production; the drudgery of subsistence farming; and the essential role large-scale, industrial producers play in making food more available, varied, affordable, and nutritionally rich than ever before in history. At best, they show, locavorism is a well-meaning marketing fad among the world’s most privileged consumers. At worst, it constitutes a dangerous distraction from solving serious global food issues. Deliberately provocative, but based on scrupulous research and incontrovertible scientific evidence, The Locavore’s Dilemma proves that: • Our modern food-supply chain is a superior alternative that has evolved through constant competition and ever-more-rigorous efficiency. • A world food chain characterized by free trade and the absence of agricultural subsidies would deliver lower prices and more variety in a manner that is both economically and environmentally more sustainable. • There is no need to feel guilty for not joining the locavores on their crusade. Eating globally, not only locally, is the way to save the planet.

Drama. Poetry. Winner of the 2013 Leslie Scalapino Award for Innovative Women Performance Writers. In this farce set on a hijacked containership on its way to Magnetic Island, Julian Assange attempts to reboot a troupe of DEAD YOUTH--teenagers from all over the globe who have died in violent circumstances from sweatshop labor to environmental poisoning to war--but must grapple with two other would-be hijackers: a young Somali pirate and a female Antoine de St-Exupery. Described by its author as a badly-wired allegory, DEAD YOUTH, OR, THE LEAKS brings to manic light the veiled violence that makes life in capitalism possible. DEAD YOUTH, OR, THE LEAKS is The Tempest recharged into a global picaresque tale about our favorite baby-faced villain, Julian Assange, who hijacks a containership of dead youth until he is thwarted by a band of Somalian pirates. This is internet piracy meets real world piracy.--Cathy Park Hong Like all of Joyelle McSweeneys work, DEAD YOUTH refuses to settle into any easy category, delivering a theater experience that's simultaneously transgressive, classical, visionary, political, and gothic. Although built for the stage, these words still slip, skid, pop, and burrow throughout the page, creating a daisy chain of unexpected associations and indelible effects.--Jeff Jackson DEAD YOUTH, OR, THE LEAKS is the shocking gaze upon the most beautiful and obscene gesture that is survival itself. This work takes as truth the statement that violence is such stuff as dreams are made of, that genocide can be converted to a legible surface, that oppression can be exhalation, that knowledge can be devastation, that violence can be humanistic and natural, staggering, immersive. In other words, DEAD YOUTH is a farce, perhaps, but built on the exploitation and death and misery that becomes charisma and complication and sacredness. Heavy, yet easy to consume for its beautiful and profound images, indigestible, yet productive and rapacious in the indigestion that it produces. This is a work like none other. Let the destruction of the world become the rhythm of your life.--Janice Lee I've never read anything by Joyelle McSweeney that wasn't totally exciting. She's one of the most interesting people working now in terms of the forms she uses, and she's extremely deft, and playful, and yet the stuff that's going on, content-wise, is really super-smart, and has really good politics and stuff. I just find her a thrilling font of new stuff.--Dennis Cooper Joyelle McSweeney's new play, DEAD YOUTH, OR, THE LEAKS is savvy, deft, funny, and truly contemporary--a vision of the 21st century, where secrets, language, internet and the human cell run wild and collapse together along with justice and history.--Fiona Templeton

Selections from the "Pandemic Files" published by The Yale Review, the preeminent journal of literature and ideas “If only our response to the pandemic on other fronts could have been as speedy and potent as this literary one.”—Kirkus Reviews, starred review In beautifully written and powerfully thought prose, A World Out of Reach offers a crucial record of COVID-19 and the cataclysmic spring of 2020—a record for us and for posterity—in the arresting voices of poets, essayists, scholars, and health care workers. Ranging from matters of policy and social justice to ancient history and personal stories of living under lockdown, this vivid compilation from The Yale Review presents a first draft of one of the most tumultuous periods in recent history. Contributors: Katie Kitamura • Laura Kolbe • Nitin Ahuja • Rena Xu • Alicia Christoff • Miranda Featherstone • Maya C. Popa • Major Jackson • John Witt • Octávio Luiz Motta Ferraz • Joan Naviyuk Kane • Nell Freudenberger • Briallen Hopper • Brandon Shimoda • Yusef Komunyakaa • Laren McClung • Eric O’Keefe-Krebs • Sean Lynch • Millicent Marcus • Meghana Mysore • Rachel Jamison Webster • Emily Ziff Griffin • Rowan Ricardo Philips • Kathryn Lofton • Monica Ferrell • Russell Morse • Randi Hutter Epstein • Noreen Khawaja • Victoria Chang • Joyelle McSweeney • Khameer Kidia • Emily Greenwood • Elisa Gabbert • Emily Bernard • Hafizah Geter • Emily Gogolak • Roger Reeves

Rat-a-tat prosody and scattershot, hallucinatory cultural critique, replete with grotesqueries, spit baroquely from the necropastoral ground of McSweeney's third collection.

“To survive romantic love, the woman served the other woman desert dirt with shells as the truck stop receded into the distance”—so observes the mordantly detached voice of a women, an extravagantly pained, self-and-other-lacerating imaginative journey dedicated “to relationship.” Auto-ethnographic postmortem on love, fragmented body floating through distillations of desire, sex, and death, lyric fever dream, avant-garde performance piece, manifesto of queer resistance, Vanessa Roveto’s phantasmagorical second book is several contradictory states bound together in a single invented language, resembling but never quite identifying with our own.