Ernest Sandeen Prize in Poetry

The poems in Auto/Body are an inexhaustible engine-sometimes a body, sometimes flesh-a sensual exploration of what it means to repair, to remake, to keep going even when rebuilding feels impossible. From the greased-up engines of auto body shops to the innumerable points of light striking the dance floor of a queer nightclub, Auto/Body, winner of the Ernest Sandeen Prize in Poetry, connects the vulnerability of the narrating queer body to the language of auto mechanics to reveal their shared decadence. Behind the wheel of this book is an insistent, humorous voice whose experiences have lent themselves to a deep, intimate knowledge of survival, driven by the pursuit of joy and exalted pleasure. Raised in and near auto body shops, Vickie Vértiz remembers visiting them to elevate the family car to examine what's underneath, to see what's working and what's not. The poetry in this book is also a body shop, but instead we take our bodies, identities, desires, and see what's firing. In this shop we ask: What needs changing? How do our bodies transcend the ways of being we have received so that we may become more ourselves? From odes to drag, to pushing back on the tyranny of patriarchy, to loving too hard and too queer, to growing up working-class in a time of incessant border violence and incarceration, this collection combusts with blood and fuel. In other words, Vértiz writes to dissolve a colonial engine and reconstruct a new vessel with its remains.

Magnificent Errors is a collection of poems that shows how mental health challenges can elicit beauty, resiliency, and hope. In 2005, Sheryl Luna burst onto the poetry scene with Pity the Drowned Horses, which quickly became a classic of border and Southwest literature with its major point of reference in and around El Paso, Texas. Now with the poems in Magnificent Errors, Luna's third collection and winner of the Ernest Sandeen Prize in Poetry, Luna turns her gaze toward people living on the margins-whether it be cultural, socioeconomic, psychological, or personal-and celebrates their ability to recover and thrive. Luna reveals that individuals who suffer and experience injustice are often lovely and awe inspiring. Her poems reflect on immigrants in a detention camp, a meth addict, a homeless individual, and someone on food stamps. She explores the voices of people with schizophrenia, bipolar disorder, or PTSD, poets, visual artists, and people living in a mental health community setting. The author's own journey to recovery from childhood abuse and mental illness also illuminates how healing is possible. The poems in Magnificent Errors are lyrical, narrative, and often highly personal, exploring what it means to be the "other" and how to cope with difference and illness. They venerate characters who overcome difficulties including ostracism and degradation. People who live outside of the mainstream in poverty are survivors, and showing their experience teaches us compassion and kindness. Ideas of art, culture, and recovery flow throughout the poems, exploring artistic creativity as a means of redemption. With language that is fresh and surprising, Sheryl Luna shares these remarkable poems that bring a reader into the experiences of marginalization and offer hope that grace and restoration do indeed follow.

Among Ruins is the final volume of Homestead Works, a collection of four books of poetry that explore the industrial past and legacy of the old steel town of Homestead, Pennsylvania, and, by extension, Pittsburgh.

We encounter many voices in life: from friends and family, from media, from co-workers, from other artists. In a highly connected global world, where people and entities are electronically enmeshed, we filter these voices constantly to get to what we determine to be the truth. Taking inspiration from pop culture, politics, art, and social media, Martin Ott mines daily existence as the inspiration and driving force behind Underdays. Underdays is a dialogue of opposing forces: life/death, love/war, and the personal/the political. Ott combines global concerns with personal ones, in conversation between poems or within them, to find meaning in his search for what drives us to love and hate each other. Within many of the poems, a second voice, expressed in italic, hints at an opposing force "under" the surface, or multiple voices in conversation with his older and younger selves-his Underdays-to chart a path forward. What results is a poetic heteroglossia expressing the richness of a complex world.

The wildly unrestrained poems in Splinters Are Children of Wood, Leia Penina Wilson's second collection and winner of the Ernest Sandeen Prize in Poetry, pose an increasingly desperate question about what it means to be a girl, the ways girls are shaped by the world, as well as the role myth plays in this coming of age quest. Wilson, an afakasi Samoan poet, divides the book into three sections, linking the poems in each section by titles. In this way the poems act as a continuous song, an ode, or a lament revivifying a narrative that refuses to adopt a storyline. Samoan myths and Western stories punctuate this volume in a search to reconcile identity and education. The lyrical declaration is at once an admiration of love and self-loathing. She kills herself. Resurrects herself. Kills herself again. She is also killed by the world. Resurrected. Killed again. These poems map displacement, discontent, and an increasing suspicion of the world itself, or the ways people learn the world. Drawing on the work of Bhanu Kapil, Anne Waldman, Alice Notley, and Mei-mei Berssenbrugge, Wilson's poems reveal familiarity and strangeness, invocation and accusation. Both ritual and ruination, the poems return again and again to desire, myth, the sacred, and body

The poems in Manuel Paul López's The Yearning Feed, winner of the 2013 Ernest Sandeen Prize in Poetry, are embedded in the San Diego/Imperial Valley regions, communities located along the U.S.-Mexico border. López, an Imperial Valley native, considers La Frontera, or the border, as magical, worthy of Macondo-like comparisons, where contradictions are firmly rooted and ironies play out on a daily basis. These poems synthesize López's knowledge of modern and contemporary literature with a border-child vernacular sensibility to produce a work that illustrates the ongoing geographical and literary historical clash of cultures. With humor and lyrical intensity, López addresses familial relationships, immigration, substance abuse, violence, and, most importantly, the affirmation of life. In the poem titled "Psalm," the speaker experiences a deep yearning to relearn his family's Spanish tongue, a language lost somewhere in the twelve-mile stretch between his family's home, his school, and the border. The poem "1984" borrows the prose-poetics of Joe Brainard, who was known for his collage and assemblage work of the 1960s and 1970s, to describe the poet's bicultural upbringing in the mid-1980s. Many of the poems in The Yearning Feed use a variety of media, techniques, and cultural signifiers to create a hybrid visual language that melds "high" art with "low." The poems in The Yearning Feed establish López as a singular and revelatory voice in American poetry, one who challenges popular perceptions of the border region and uses the unique elements of the rich border experience to inform and guide his aesthetics.