winner of the 

2014 May Swenson Poetry Prize, selected by Mark Doty

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Phoenicia Publishing, Montreal; 2014                   ________________________________________________________________________ the-saints-of-streets




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Read the title poem, “The Saints of Streets,” here.


Luisa Igloria’s The Saints of Streets overlays the landscapes we see with many more vanished. Houses, town halls, and cathedrals are held up by spires of memory; the past erupts and spills over when the poet focuses on particulars, “…nose pressed to the doorway between worlds/ lit by the same fire that singes the wings of bees.” Igloria begins, as we often do, with a yearning: followed by question, meditation—but the power of her gaze sets these poems apart. Observation magnetizes worlds into radical juxtaposition, and in these poems, measured, intuitive music splendidly unleashes the bewildering in the everyday.

~ Kristin Naca, author of Bird Eating Bird (Harper Perennial 2009, selected by Yusef Komunyakaa for the mtvU National Poetry Series)

  In poem after poem, Luisa Igloria deftly reminds us of the relevance of an art form at the shore of irrelevance, where the “water writes what it erases, then writes again.” The erased—hungry ghosts, Pigafetta, the Saints, Yamashita, and Filipino public figures long-forgotten—find their memories re-lived in Igloria’s poetic timeline. Here is a full display of Igloria’s extraordinary ability to become a vessel for muted and fading voices returned to the shores of our historic imagination with an “overflowing urgency of words.”

~ Bino A. Realuyo, author of The Gods We Worship Live Next Door (University of Utah Press, 2005 Agha Shahid Ali Prize in Poetry) and The Umbrella Country (Ballantine Books, 1999).

  “…Luisa Igloria establishes herself as a singular and revelatory voice in American poetry. Here, she explores the dichotomy of Filipino: interwoven yet hermetically singular, acquisitive yet inventive, docile yet amok. Her engrossing poems hide, behind their gorgeous scrims, a bristling wall of spears.”

~ Sabina Murray, author of Tales of the New World: Stories (Grove Press, 2011; New York Times Editors’ Choice and O, The Oprah Magazine Book of the Week selection), A Carnivore’s Inquiry, and The Caprices (Grove Press, 2007)


In Luisa A. Igloria’s twelfth and newest book The Saints of Streets, hungry ghosts, mullahs, would-be assassins, carnival queens, Hell Girl, Dante riding Geryon’s back, and a host of other figures guide us through the dioramas and exhibits of personal and collective memory: they’ll be our chauffeurs, psychopomps, tourist guides, our sweet and difficult familiars. These poems are love letters, phone calls disrupting our day to remind us of the strange and beautiful mysteries of living in the postcolonial moment.

Book Cover Design: Jennifer Patricia A. Carino Book Cover Photograph: “Reverence to the Moon” by Elmer Borlongan   _____________________________________________________________________________

Juan Luna's RevolverJUAN LUNA’S REVOLVER

Winner, 2009 Ernest Sandeen Prize Series in Poetry University of Notre Dame Press The poems in Juan Luna’s Revolver both address history and attempt to transcend it through their exploration of the complexity of diaspora. Attending to the legacy of colonial and postcolonial encounters, Luisa A. Igloria has crafted poems that create links of sympathetic human understanding, even as they revisit difficult histories and pose necessary questions about place, power, displacement, nostalgia, beauty, and human resilience in conditions of alienation and duress. Igloria traces journeys made by Filipinos in the global diaspora that began since the encounter with European and American colonial powers. Her poems allude to historical figures such as the Filipino painter Juan Luna, the novelist and national hero José Rizal, as well as the eleven hundred indigenous Filipinos brought to serve as live exhibits in the 1904 Missouri World’s Fair. The image of the revolver fired by Juan Luna reverberates throughout this collection, raising to high relief how separation and exile have shaped concepts of identity, nationality, and possibility. Suffused with gorgeous imagery and nuanced emotion, Igloria’s poetry achieves an intimacy fostered by gem-like phrases set within a politically-charged context speaking both to the personal and the collective. Luisa A. Igloria is a tenured professor and the Director of the MFA Creative Writing Program at Old Dominion University. The winner of numerous national and international creative writing awards, she is the author of nine other books.

OTHER BOOKS BY LUISA IGLORIA [Click on the Book Covers for more information]

Trill And Mordent Not Home But Here Songs For The Beginning Of The Millennium

Encanto In the Garden of the Three Islands Blood Sacrifice

Cartography Cordillera Tales

Luisa Igloria’s work also appears in the following anthologies:

[Click on the Book Covers for more information.]

Not A Muse A Native Clearing Babaylan

Comfort Food ed Erlinda Enriquez Panlilio Going Home to a Landscape

language for a new century Letters to the World PinoyPoetics

Red White and Blues Returning a Borrowed Tongue

ScreamingMonkeys To Mend the World Writing Home A Taste Of Home