Cynthia Cruz

Cynthia Cruz’s second collection, The Glimmering Room, beckons readers down into the young speakers’ dark underworld, and because we are seduced by Cruz’s startling imagery and language rich with “Death’s outrageous music,” we follow willingly. The poems wander in and out of their own American wastelands—strip malls, bus stations, state psychiatric hospitals, “the Starver’s Ward // With the other almost-girls”—with a loneliness “so brutal / It is beautiful.” Peopled with “ambassadors from the Netherworld”—the orphaned and abused, the lost and addicted—Cruz leads us through this “traveling minstrel show / Called girlhood—” which is at once tragic and magical. From “Strange Gospels” to stark, entrancing dispatches from inside the hospital walls, these poems give voice to the voiceless in the face of poverty, addiction, war, and consumerism. “I am diseased with this / Recurring dream that is / My life,” one speaker declares, and we are devastated not by a godless world, but by a world rife with the “God of gas station bathrooms / And of girls held hostage / Inside their own bedrooms,” a God who “does not keep/ The demons back.” Relentless in its descent into “the mind’s outrageous factory,” the book’s redemption lies not in pulling us back from the edge, but in its refusal to look away or to let us forget: “memory// That warm slop of honey, / seeping. No way to stop it / And its gorgeous hurricane of bees.” from Four Way Books

"Meet Chief Inspector William Wisting, an experienced policeman who is familiar with the dark side of human nature. He lives in challenging times for the Norwegian police force, meeting them with integrity and humanity, and a fragile belief that he can play a part in creating a better world"--Publisher's website.

"A slide show in poems documenting the ruin wrought by war and inequality on those who defy the status quo. In Guidebooks for the Dead, Cynthia Cruz returns to a familiar literary landscape in which a cast of extraordinary women struggle to create amidst violence, addiction and poverty. For Marguerite Duras, evoked here in a collage of poems, the process of renaming herself is a "Quiet death," a renewal she envisions as vital to her evolution. In "Duras (The Flock)," she is "high priestess" to an imagined assemblage of women writers for whom the word is sustenance and weapon, "tiny pills or bullets, each one packed with memory, packed with a multitude of meaning." Joining them is the book's speaker, an "I" who steps forward to declare her rightful place among "these ladies with smeared lipstick and torn hosiery . . . this parade of wrong voices." Guidebooks for the Dead is both homage to these women and a manifesto for how to survive in a world that seeks to silence those who resist"--

War has erupted in the Banished Lands as the race for power intensifies. Corban flees his homeland searching for peace, but he soon discovers that there is no haven in the west as the agents of Rhin and roaming bands of giants hound his every step. Veradis leaves the battleground and rushes to his King's side. But he has witnessed both combat and betrayal and his duty weighs heavily upon him. Maquin seeks only revenge, but pirate slavers and the brutal world of pit-fighting stand in his way. Nathair becomes embroiled in the wars of the west as Queen Rhin marches against King Owain. The need to find the cauldron of the giants drives him on. Sides are chosen and oaths will be fulfilled or broken in a land where hell has broken loose.

"An anthology of 15 Latina poets from varied class, ethnic, occupational, and educational backgrounds whose work blends traditional forms and styles of poetry with postmodern innovations"--