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In this collection, God is a hopeless and dangerous flirt, mothers die and are resurrected, and disappointing lovers run like hell for the margins. With effortless swagger and confessional candor, Condon lays bare the thrill of lust and its subsequent shame. In poems brimming with the desire \/ to be desired by men, by God, by lovers' other women, by oneself, she renders a world in which wildflowers are coated in ash and dark bedrooms flicker with the blue light of longing. The speaker implores like an undressed wound: is it wrong to feel a hurt kind of beautiful? 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Exploring the multiple roles of medicine in incarceration, Nevison's poems expose the psychological and physical pain felt by the prison system's inhabitants. Nevison asks readers to consider the act and complications of looking-at the spectacle of punishment, isolation, and interrogation, as mapped onto incarcerated bodies-by those who participate in and enforce dangerous prison practices, those who benefit from the exploitation of incarcerated bodies, and those who bear witness to suffering. 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Other times, we're given a terrain where the coveted tree is one that hides a cell tower, where lungs are likened to ATMs and prayers are sent via text message. Rosalie Ruth Moffett's debut collection of poetry, \u003ci\u003eJune in Eden, \u003c\/i\u003equestions the human task of naming in a time where there are new kinds of war that keep \/ changing the maps, where little mistakes-\u003ci\u003epreying\u003c\/i\u003e or \u003ci\u003epraying\u003c\/i\u003e, for instance-are easily made. The heart of this book is an obsession with language, its slippages and power, what to do when faced with the loss of it. Ruth, says our speaker, is a kind of compassion \/ nobody wants anymore-the surviving half \/ of the pair of words is \u003ci\u003eruthless\u003c\/i\u003e. 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