Titled after a small gallery of the same name found in Rome, the poems are devoted to meditations on religious relics and works of art. They explore the narrative power these objects carry—the way we imbue totemic figures with both meaning and story, and the potential they have to define the world.

Against the backdrop of iconic, ancient Hindu texts, Burning Like Her Own Planet reimagines the lives of Hindu goddesses through a contemporary, feminist lens. Told in a series of persona poems and dramatic monologues, the book reinvents these myths into essential stories of love, betrayal, and faith. In these poems, the goddesses question their predetermined fates and examine what it means to be human and divine. They speak in the voices of girls, wives, and mothers, all trying to carve a space for themselves in a world ruled by jealous gods and capricious luck. Overcoming a string of challenges, these goddesses discover their own agency, and the power that comes from telling their own stories. At the heart of the book are the goddesses Sita and Parvati—women who are cast in the role of the “perfect” wife, the “perfect” mother. Here, the goddesses describe their own transformations from naïve, untried women into powerful forces claiming their autonomy. Each in her own way challenges the traditional notions of what it means to be a woman, illuminating the connections between the personal and the universal, the devout and the earthly. The poems highlight the tension between obligation and freedom, examining the consequences for those who try and change the narrative. Whether blessed or cursed, these women, these girl-goddesses, forge their own place within the pages of ancient texts, writing the bitter and the sweet of own lives as they undergo the trials of becoming holy.

Moving between the scriptures of the Qur’an and the Bible, these poems explore the complexities and spectacles of gender, faith, and family by unraveling the age-old idea that seeing is believing. Navigating both scripture and culture, the poems in Theophanies work to spin miracles from the mundanities of desire and violence. Through art and music, Pakistani history, and scriptural stories, these poems struggle to envision a true self and speak back against time to the matriarchs of the larger Abrahamic faiths, the mothers at the heart of sacred history Stitched through these poems is longing—for mothers, angels, and signs from the divine. Theophanies asks: is seeing really believing, and is believing belonging? The speaker seeks to understand her own, bewildering “I,” to use it with reverence, and to mythologize herself and all mothers to ensure their survival in a male-dominated world hard at work erasing them In the absence of matrilineal elders in her family, the speaker turns to the archetypal “mother of nations” for whom she is named, Sarah, and her sent-away “sister,” Hajar. What does it mean to have a woman’s body when that body has been hailed a vessel for the divine? Theophanies arises from the speaker’s tenuous grip on her own faith while navigating the colonial legacy of Partition and inherited patriarchal expectations of womanhood.

Over the course of these poems, the Black, queer protagonist begins to erase violent structures and fill the white spaces with her hard-won wisdom and love. I am the Most Dangerous Thing doesn't just use poetry to comment on life and history. The book is a comment on writing itself. What have words done? When does writing become a form of disengagement, or worse, violence? The book is an exercise in paring the state down to its true logic of violence and imagining what can happen next. There are many contradictions—Although the protagonist teaches the same science that was used to justify enslavement and a racial caste system, she knows she will die at the hands of science and denies the state the last word by penning her own death certificate. As an educator and knowledge worker, she is an overseer of the same racist, misogynistic, and homophobic systems that terrorize her. Yet, she musters the courage to kill Kurtz, a primordial vision of white terror. She is Black and queer and fat and angry and chill and witty and joyful and depressed and lovely and flawed and an (im)perfect dagger to the heart of white supremacist capitalism.

While Turner (author of Here, Bullet) grieves the loss of his wife to cancer, The Goodbye World Poem is a series of poetic meditations that sit quietly in the silent “afterward” of someone’s death. Losing his wife, his father, and his best friend in quick succession, Turner explores those relationships through the complicated lenses of moments in time, weaving in and out of memory to explore the disparate history that fuses together to form ones psyche. Throughout the collection, a prevailing motion recurs: that of submersion, sinking, plunging into the deep—whether it be the ocean or the subconscious. In other words, this book is a kind of poetic biography, a journey of the self that ultimately pours everything that’s happened in a life—all of the love and all of the loss—into the moment of death itself. The poems are meant to be celebratory and sublime in their comprehension of what happens to our memories when we die. And, if the reader is inclined—the reader becomes the vessel who holds all of this in their own imagination, carrying Turner and his memories forward into their own lives in a small way.

Although grief is at the forefront of these poems, The Wild Delight of Wild Things is a simple love letter to Turner's late wife, poet Ilyse Kusnetz (1966-2016). The poems are also a love letter to our planet during the ongoing sixth mass extinction. Intertwining this immense grief, Turner explores the hybrid borderlands of genre, and the meditations on love and loss blur the boundaries between poetry and lyric prose. In Italian, the word "stanza" is rooted in the word "room." And so, stanza by stanza, room by room, page by page, we draft ourselves forward into the imagination, our arms filled with all that we can carry from the days gone by. This is the art of survival. Profound grief teaches us how to dwell in the house of memory—that vibrant temporal landscape of the past—where we might live with the dead we love once more.

Following the loose series of Turner’s other recent 2023 publications, The Wild Delight of Wild Things and The Goodbye World Poem, this third book in this “collection” serves as a poetic guide to help us navigate the world we live in. The Dead Peasant’s Handbook begins with the difficulty and hardship of living in the world after losing a loved one before allowing oneself to gravitate again towards delight and wonder. With deep dives into history, the poems traverse the wild terrain of our lives, and it remains ever-constant to the theme at the core of all three recent books—that of love and loss. The poems take their structure from guidebooks, featuring subject areas connected to the general experience of being human: war and conflict, dreams, love and loss, and survival. The book itself takes its title from an insurance industry policy (“Dead Peasants”) in which companies can take out insurance on their workforce in case of loss or death—sometimes without employees knowing. And so, this book is also a commentary on the people and moments that are too often elided over and given the vault of silence, and maybe lost to time.