Reader's Advisory Guide

Milk and honey is a collection of poetry and prose about survival. About the experience of violence, abuse, love, loss, and femininity. The book is divided into four chapters, and each chapter serves a different purpose. Deals with a different pain. Heals a different heartache. Milk and honey takes readers through a journey of the most bitter moments in life and finds sweetness in them because there is sweetness everywhere if you are just willing to look.

This poetry collection focuses on a hybridized Indigiqueer trickster character named Zoa who brings togehter the organic (the protozoan) and the technologic (the binaric) to re-beautify and re-member queer Indigeneity. A Two-Spirit/Indigiqueer invention, Zoa infects, invades, and infests as a virus inside canonical and popular works in order to re-centre the lives of Two-Spirit individuals. In their fierce defence, Zoa takes on the likes of Shakespeare, Spenser, Dickens, and Milton, romps through the fields of cyberpunks and biopunks, takes notes from popularized horror icons, and emulates contemporary pop-culture phenomenons like Lana del Rey, RuPaul's Drag Race, X-Men, Grindr, and Peter Pan -- all to build new territories in literature, pop culture, and oral storytelling. 'full-metal indigiqueer' works tirelessly to create coalition among Two-Spirit/Indigiqueer folk who have been ghosted in policy, page, tradition, and history -- the very lives of Two-Spirit/Indigiqueer youth are rarely mentioned; they find themselves made spectral in settler and neocolonial Indigenous nationalisms. For those who have, as Donna Haraway once noted, 'been injured, profoundly', 'full-metal indigiqueer' is a sex-positive project that sparks resurgence.

Blending lore and magic with contemporary questions around belief and beauty, power and fear, this stunning new poetry collection from Kelly Rose Pflug-Back is a grimoire for our times. Spanning centuries, The Hammer of Witches reaches from present-day urban dystopias and the unlikely enchantments that they harbour, to medieval Norway, where the first Christian king waged war on the countrys gender-nonconforming wizards. Macabre imagery, speculative themes, and everyday mysticism blur the distinction between the real and the unreal, challenging modern concepts of beauty, power, and fear. In her first full-length collection, Kelly Rose Pflug-Back weaves together the magical and the monstrous, the sacred and the profane, to make sense of a world where primeval forests are clear-cut to build parking lots, and where it often seems that the gods have all gone to live behind the veil.

With this startling, exhilarating book of poems, which was first published in 1960, Sylvia Plath burst into literature with spectacular force. In such classics as "The Beekeeper's Daughter," "The Disquieting Muses," "I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.