Clear or wholly settled, not even the veins on the underside of a leaf, its freedoms.

At once tender and fierce, concise and associative, Laurie Sheck's Captivity charts and explores the textures and movements of mind in her gorgeous, long-lined poetry. Placed at intervals throughout the book are poems the author calls Removes, which take their initial impulse from American captivity narratives and constitute a profoundly felt inquiry into what is familiar and what is strange, what it means to be displaced and radically apart, and how disruption itself becomes its own kind of opportunity. The poems describe a psychic territory both desolate and exultant, as Sheck embraces the fragmentary, yet stays alert to what remains mysteriously standing. She writes, Thinking has a quiet skin. But I feel the break and fled of things inside it. In Captivity, Sheck illuminates this shadow-thought world that governs what we are and attains provocative glimpses of the fluid self.

The exquisite and haunting (Booklist) collection of poems built around the language and mystique of American captivity narratives in which Sheck enters the vivid life we live inside our own minds and selves, and takes us into the mysterious underside of consciousness and selfhood.