Aunt Bird is an aston­ish­ing, hybrid poet­ry of wit­ness that observes and tes­ti­fies to social, polit­i­cal, and his­tor­i­cal real­i­ties through the recov­ery of one life silenced by the past. With­in these pages, poet Yer­ra Sug­ar­man con­fronts the Holo­caust as it was expe­ri­enced by a young Jew­ish woman: the author’s twen­ty-three-year-old aunt, Feiga Maler, whom Sug­ar­man nev­er knew, and who died in the Kraków Ghet­to in Ger­man-occu­pied Poland in 1942. In lyric poems, prose poems, and lyric essays, Aunt Bird com­bines doc­u­men­tary poet­ics with sur­re­al­ism: sourc­ing from the tes­ti­mo­ni­als of her kin who sur­vived, as well as offi­cial Nazi doc­u­ments about Feiga Maler, these poems imag­ine Sugarman’s rela­tion­ship with her deceased aunt and thus recre­ate her life. Braid­ing spec­u­la­tion, pri­ma­ry sources, and the cul­tur­al knowl­edge-base of post-mem­o­ry, Aunt Bird seeks what Eavan Boland calls ​“a hab­it­able grief,” ele­giz­ing the par­tic­u­lar loss of one woman while hon­or­ing who Feiga was, or might have been, and rec­og­niz­ing the time we have now.