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Ahl’s writing is full of grace, potency and out-of-the-box surprise. Her poems are narrated by a girl drowned in a lake who continues to age in the afterlife and is capable of time travel, by the lifeguard who could not save her, by dolphins, World War II spies and occasionally by Ahl herself. The poetic microbiome of Ahl’s mind is boundless. The collection reflects her ability to question time, place, the afterlife, and the fiction we adhere to that there is such a thing as an individual. Ahl’s premise is not based on mysticism as much as particle physics. Yet the poems in If a Dolphin read like a wild Tibetan Bardo journey, shattering and enriching.—Joanne Dominique Dwyer, author of Belle Laide", "pricingNote": "", "availability": "available", "url": "https://wordworksbooks.org/product/if-a-dolphin/" }, { "name": "In Time", "description": "By Ethel Rackin In her fourth book of poetry, In Time, Ethel Rackin continues and deepens the prismatic approach of her previous books. From ordinary time—“Thanks // for your call,” an early poem opens—to the wide sweep of geological time, Rackin investigates messages sent between friends, from the self to the world, and back, with the almost weightless feeling of the in-betweenness of days. Balanced between mortality and continuance, in an act of finding the moment where they meet, these are poems that reveal just enough to intimate the great wealth of the unsaid hovering behind. It’s a deeply honest mystery, as the speaker and reader, “…[wait]/ for something to be lifted— / something like life— / for a path to be cleared.”—John Gallaher, author of Brand New Spacesuit", "pricingNote": "", "availability": "available", "url": "https://wordworksbooks.org/product/in-time/" }, { "name": "Love & Sambal", "description": "By Jeddie Sophronius Seamus Heaney—like Jeddie Sophronius, a poet obsessed with writing a divided, stricken, and violently haunted motherland into existence, into sense—says that he writes “to see myself, to set the darkness echoing.” The narrator of Love & Sambal sojourns with mythic and deeply personal intention through the dark wood or night of the soul that is Indonesia’s almost Biblically plagued history of usurpation, prejudice, flood, drought, and erasure. Touch this book anywhere and you will touch everywhere its echoing darknesses, in stories of dislocation, exile, trauma, lost names and cultures, and of friends and lovers split by unreconcilable languages and beliefs. There is no darkness, however, without the idea, the hope, of light, and like the complex Indonesian chutney—sambal—of the book’s title, Sophronius’s is not a hopeless vision. This collection contains multitudes—the sweet, the sour, the pleasing, the bitter, offering a full palate of experience that the poet savors bravely out of abiding love for his “kind” and his country: “crimson grind, soft skin / of a dried pepper, sprinkled with a taste / of lime—watery. 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