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Kliv in i en oändlig värld av stories

Lyssna när som helst, var som helst

Vickie Vértiz

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 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.

University of Notre Dame Press

Ernest Sandeen Prize in Poetry

Auto/Body

Sheryl Luna

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.

Magnificent Errors

Robert Gibb

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.

Among Ruins

Manuel Paul López

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.