From the Gulf Coast to Miami, and New York City to the Bay Area, climate change is changing the coastline of the United States in irrevocable ways. This book weaves the firsthand accounts of those who are living through sea level rise today with eyewitness reporting from our shoreline’s disappearing places.
We are pleased to announce that judge Victoria Chang has selected John McCarthy’s collection Scared Violent Like Horses as winner of the 2017-18 Jake Adam York Prize for a first or second collection of poems, presented in partnership by Copper Nickel and Milkweed Editions. McCarthy will receive $2,000 and his collection will be published by Milkweed in February 2019.
Visit Milkweed's booth at the AWP Bookfair (booths 1424–1426) to meet authors, get signed and discounted books, and special deals! Catch Milkweed authors and staff in action at 3 featued events, 1 offsite reading/party, and on over 30 panels! Visit milkweed.org/AWP for our full schedule.
National Endowment for the Arts Chairman Jane Chu has approved more than $25 million in grants as part of the NEA’s first major funding announcement for fiscal year 2018. Included in this is an Art Works grant of $60,000 to Milkweed Editions.
When Amy and Dave Freeman learned of toxic mining proposed along the edge of the Boundary Waters, they decided they needed to take action—by spending an entire year in the Wilderness, sharing their experience through video, photos, and a blog that reached hundreds of thousands of concerned citizens. A Year in the Wilderness is their story.
I saw the opiate epidemic start to swallow up my home. It worked quickly and indiscriminately. Each trip back was met with news of a different friend using, or in rehab, or dealing, or in jail, or worse. But it was only after a very specific moment that I became committed to writing this book, a moment of initial frustration within myself.
When Milkweed Editions invited my thoughts on cover design for Virgin, I sent them a Pinterest page with visual influences: Victorian pharmaceutical advertisements, turn of the century women’s magazine covers, art nouveau color palettes, autochromes, and vintage illustrations of flora and fauna (mostly cacti)—all motifs of highly polarized femininity that I was trying to capture and reconsider.
Less than two years ago, Max Ritvo came into the Milkweed family like a ball of fire. We’re thrilled to share with you his next two books: Letters from Max, a book of correspondence between Max and the playwright Sarah Ruhl; and The Final Voicemails, a second collection of poems edited by Louise Glück.