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On January 20, 2021, Amanda Gorman became the sixth and youngest poet to deliver a poetry reading at a presidential inauguration. Taking the stage after the 46th president of the United States, Joe Biden, Gorman captivated the nation and brought hope to viewers around the globe. Her poem “The Hill We Climb: An Inaugural Poem for the Country” can now be cherished in this special gift edition. Including an enduring foreword by Oprah Winfrey, this keepsake celebrates the promise of America and affirms the power of poetry.

The Pura Belpré Honor Award winning author of Aniana del Mar Jumps In makes her YA debut with a powerful novel-in-verse about a Texas teen who is battling racism in her theatre program and book banning efforts by her town’s school board.

Yulieta Lopez is angry. Angry at her racist drama teacher who refuses to cast Black students in lead roles. Angry at the school board threatening her favorite teacher for teaching works of literature that they deem “controversial.” Angry that she has to keep quiet until she can head to college and leave Texas forever.

Yuli is accustomed to playing various roles: the diligent daughter, the honorable hija, the good girl who serves everyone else before serving herself. But as the fire of Yuli's rage spreads and lights her up, she can no longer be silent. Determined to find a way to fight back, Yuli and her friends start a guerilla theatre club which stirs things up and gets people talking, and finally, Yuli steps into the role she was always meant to play.

In the powerful follow up to her critically acclaimed debut collection, poet and activist Fariha Róisín is writing, praying, clawing, and scratching her way out of the grips of generational trauma on the search for the freedom her mother never received and the kindness she couldn’t give.

This collection of poetry asks a kaleidoscope of questions: Who is my family? My father? How do I love a mother no longer here? Can I see myself? What does it mean to be Bangladeshi? What is a border? Innately hopeful and resolutely strong, Fariha's voice turns to the optimism and beauty inherent in rebuilding the self, and in turn, the world that the self moves through. Ubiquitous to the human experience, Survival Takes a Wild Imagination is an illuminating breath of fresh air from a powerful poetic voice.

Winner of the 2020 Cave Canem Prize

Gumbo Ya Ya, Aurielle Marie’s stunning debut, is a cauldron of hearty poems exploring race, gender, desire, and violence in the lives of Black gxrls, soaring against the backdrop of a contemporary South. These poems are loud, risky, and unapologetically rooted in the glory of Black gxrlhood. The collection opens with a heartrending indictment of injustice. What follows is a striking reimagination of the world, one where no Black gxrl dies “by the barrel of the law” or “for loving another Black gxrl.” Part familial archival, part map of Black resistance, Gumbo Ya Ya catalogs the wide gamut of Black life at its intersections, with punching cultural commentary and a poetic voice that holds tenderness and sharpness in tandem. It asks us to chew upon both the rich meat and the tough gristle, and in doing so we walk away more whole than we began and thoroughly satisfied.

The debut poetry collection from Grammy-nominated recording artist and slam poet Tarriona "Tank" Ball about infatuation, love, and heartbreak.

The real-life story of a relationship in the author's past told in verse and short prose pieces. Relatable and honest, with Tank's signature mix of whimsy and realness, Vulnerable AF is about the difference between love and infatuation, the danger and confusion of losing yourself in the idea of someone else, and coming out on the other side of heartbreak with your sense of self-worth—and your sense of humor—stronger for it.

With a powerful introduction by Ross Gay and a moving afterword by Sidney Clifton, this special anniversary edition of The Book of Light offers new meditations and insights on one of the most beloved voices of the 20th century.

Though The Book of Light opens with thirty-nine names for light, we soon learn the most meaningful name is Lucille—daughter, mother, proud Black woman. Known for her ability to convey multitudes in few words, Clifton writes into the shadows—her father’s violations, a Black neighborhood bombed, death, loss—all while illuminating the full spectrum of human emotion: grief and celebration, anger and joy, empowerment and so much grace. 

If the question is America-and by extension, who is and what does it mean to be American? -AFRICANAMERICAN'T offers no answers. The CAN'T in the title suggests impossibility and that is precisely what the book is interested in. Even in the so-called land of opportunity, some things remain impossible for its speaker(s). In a way, AFRICANAMERICAN'T is a document of attempted refusals: assimilation, forgetting, and allegiance to any one country. However valid despair might be as a response to the continued failings of his two countries, Ayokunle Falomo traverses the distance between betrayal and love in an attempt to find poetry-and perhaps, something like hope-in all the places it can't be found.

Join us for our month bookclub meeting. April is Poetry Month and we're reading Best Barbarian by Roger Reeves, a National Book Award Winner. 

Please support the space and opportunities we create by purchasing your book from our store. 

Our meeting will be on Thursday, April 27, 2023 in the Kindred Stories Reading Garden. Be sure to RSVP and show up with the book read (or mostly read). 

From the creator of the beloved @PoetryIsNotaLuxury Instagram account,a gorgeously wrought poetry anthology that is a gift and a guide for readers through every season of life.

Inspired by writer and philosopher Audre Lorde’s famous claim: “Poetry is not a luxury,” this anthology proves the vitality of poetry as a crucial source of inspiration, comfort, and delight.

In a first section, “Summer,” you’ll find lush landscapes and love poems for weddings and anniversaries, alongside poems on travel, protest, and expressions of sheer joy and exhilaration. “Autumn” ushers in nostalgic poems about home and family and friendship, fall leaves, nesting and gratitude. You may turn to “Winter” should you require a poem for mourning, some lyrics for loneliness, or an ode to comfort. Rounding out a year’s worth of verse is “Spring,” in which you’ll discover celebratory poems, in the form of praise for rain and flowers, new beginnings, and all that the future might hold.

Each poem within has been chosen from centuries of verse from around the world, with an emphasis on living poets. Friends old and new await, with selections from Rita Dove, Victoria Chang, Ross Gay, Naomi Shihab Nye, C.D. Wright, Eileen Myles, Ada Limón,Ross Gay, Ilya Kaminsky, Jos Charles, and more.

From love poems to elegies, from the heights of new love to the furrows of anxiety, from special occasions to a morning pick-me-up, there is something here for longtime poetry lovers and novices, in any season of need.

A groundbreaking collection about Afropioneerism past and present from Pushcart Prize-nominated poet and New York Times bestselling author Rio Cortez

From a visionary writer praised for her captivating work on Black history and experience, comes a poetry collection exploring personal, political, and artistic frontiers, journeying from her family's history as "Afropioneers" in the American West to shimmering glimpses of transcendent, liberated futures. 
 
In poems that range from wry, tongue-in-cheek observations about contemporary life to more nuanced meditations on her ancestors—some of the earliest Black pioneers to settle in the western United States after Reconstruction—Golden Ax invites readers to re-imagine the West, Black womanhood, and the legacies that shape and sustain the pursuit of freedom. 

"The claim of The Black Poets  to being... an anthology is that it  presents the full range of Black-American poetry,  from the slave songs to the present day. It is  important that folk poetry be included because it is  the root and inspiration of later, literary  poetry. Not only does this book present the full range  of Black poetry, but it presents most poets in  depths, and in some cases presents aspects of a poet  neglected or overlooked before. Gwendolyn Brooks  is represented not only by poems on racial and  domestic themes, but is revealed as a writer of  superb love lyrics. Tuming away from White models and  retuming to their roots has freed Black poets to  create a new poetry. This book records their  progress."--from the Introduction by Dudley  Randall

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The first book of poems from an acclaimed young author, whose meteoric rise has already landed them on the cover of Time Magazine.

Black Nature is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated.

Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry―anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild.

Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements.

Black Nature brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole.

A Friends Fund Publication.

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Such Color collects the best poems from Smith’s award-winning books and culminates in thirty pages of brilliant, excoriating new poems. These new works confront America’s historical and contemporary racism and injustices, while they also rise toward the registers of the ecstatic, the rapturous, and the sacred—urging us toward love as a resistance to everything that impedes it. This magnificent retrospective affirms Smith’s place as one of the twenty-first century’s most treasured poets.

The complete early work of the renowned poet—available for the first time ias a Harper Perennial Modern Classic. . . . “Nikki Giovanni is one of our national treasures.”—Gloria Naylor

Ackowledged by Oprah WInfrey as “one of the 25 women who changed her life,” Nikki Giovanni is a living legend. When her poems first emerged during the Black Arts Movement in the 1960s, Giovanni immediately became one of the most celebrated, controversial, and influential poets of the era. Today, Giovanni remains one of the most commanding and luminous voices to grace our political and poetic landscape.

This omnibus includes her first seven volumes of poetry from her early years, 1967 to 1983: Black Feeling Black Talk; Black Judgement; Re: Creation; My House; The Women and the Men; Cotton Candy on a Rainy Day; and Those Who Ride the Night Winds. A timeles classic, it is both a refelction of the changes in her own life and an evocation of a nation’s past and its present.

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Black Girl Magic continues and deepens the work of the first BreakBeat Poets anthology by focusing on some of the most exciting Black women writing today. This anthology breaks up the myth of hip-hop as a boys’ club, and asserts the truth that the cypher is a feminine form.

Poet and vocalist Jamila Woods was raised in Chicago, and graduated from Brown University, where she earned a BA in Africana Studies and Theatre & Performance Studies. Influenced by Lucille Clifton and Gwendolyn Brooks, much of her writing explores blackness, womanhood, and the city of Chicago.

Mahogany L. Browne is a Cave Canem and Poets House alumna and the author of several books including Smudge and Redbone. She directs the poetry program of the Nuyorican Poets Café.

Idrissa Simmonds is a fiction writer and poet. Her work has appeared in Black Renaissance Noire, The Caribbean Writer, Fourteen Hills Press, and elsewhere. She is the 2014 winner of the Crab Creek Review poetry contest, and a New York Foundation for the Arts and Commonwealth Short Story Award Finalist.

The poetry of Tom Postell, believed lost since a tragic death in 1980, appears here in its first authorized, comprehensive volume. While Postell ran with the masters of Beat, Black Power, and Hardbop in the 50's and 60's, he has remained elusive, enigmatic, unsung. His poems provide an astonishing look into how issues of race, music, and the political avant-garde intersect at this pivotal moment in post-WWII America. Essays and hybrid work by giovanni singleton, Derrick Harriell, and Aldon Lynn Nielsen complement interviews, typescripts, and archival photos, making this retrospective of Postell the first of its kind.

ABOUT TOM POSTELL

Tom Postell, born Thomas Freeman Postell Jr., was a Black American poet born in Cincinnati in 1927 and closely associated with the Beat Generation, Black Mountain School, and Black Arts Movement in New York City's Greenwich Village from 1953 to 1969. A close friend and mentor of poet Amiri Baraka, Postell's circle included musicians like Ornette Coleman and Archie Shepp and fellow poets like Allen Ginsberg and Ted Joans. Hindered by institutionalization, mental health struggles, and substance abuse, Postell disappeared from the literary scene in 1970, leaving a trove of innovative work thought lost upon his death in 1980.

"Postell wrote moon poems that would concern the authorities. A nature poet, jazz poet, love poet, and surrealist raconteur. He was multitudinous, hilarious, occasionally terrifying and always interstellar. In the pages of this iridescent collection, his voice arrives as if from another planet, another place in space-time, to call us forward.” —Dr. Joshua Bennett

"Tom Postell emerged from the mid-1960s Village literary scene as a self-sculpted, deft, barely-listened-to imaginal incessance. And yet, with this surprising new collection of unheralded poems, his work continues to radiate with incantatory significance. —Will Alexander

Written after two years of artistic silence, during which the world came to a halt due to the COVID-19 pandemic and Minneapolis became the epicenter of protest following the murder of George Floyd, Bluff is Danez Smith’s powerful reckoning with their role and responsibility as a poet and with their hometown of the Twin Cities. This is a book of awakening out of violence, guilt, shame, and critical pessimism to wonder and imagine how we can strive toward a new existence in a world that seems to be dissolving into desolate futures.

Smith brings a startling urgency to these poems, their questions demanding a new language, a deep self-scrutiny, and virtuosic textual shapes. A series of ars poetica gives way to “anti poetica” and “ars america” to implicate poetry’s collusions with unchecked capitalism. A photographic collage accrues across a sequence to make clear the consequences of America's acceptance of mass shootings. A brilliant long poem―part map, part annotation, part visual argument―offers the history of Saint Paul’s vibrant Rondo neighborhood before and after officials decided to run an interstate directly through it.

Bluff is a kind of manifesto about artistic resilience, even when time and will can seem fleeting, when the places we most love―those given and made―are burning. In this soaring collection, Smith turns to honesty, hope, rage, and imagination to envision futures that seem possible.

The poems in Here is the Sweet Hand explore solitude as a way of seeing. In particular, the speakers in francine j. harris’ third collection explore the mystique, and myth, of female loneliness as it relates to blackness, aging, landscape and artistic tradition. The speakers in these poems are often protagonists. Against the backdrop of numerous American cities and towns, and in a time of political uncertainty, they are heroines in their quest to find logic through their own sense of the world.

The poems here are interested in the power of observation. But if there is authority in the individual versus the collective, Here is the Sweet Hand also poses questions about the source of that power, or where it may lead.

As in her acclaimed previous collections, harris’ skillful use of imagery and experimentation with the boundaries of language set the stage for unorthodox election commemoration, subway panic, zoomorphism, and linguistic battlefields. From poems in dialogue with the artistry of Toni Morrison and Charles Burnett to poems that wrestle with the moods of Frank Stanford and Ty Dolla $ign, the speakers in this book signal a turn at once inward and opening.

A piercing, unflinching new volume offers necessary music for our tumultuous present, from “perhaps the best public poet we have” (Boston Globe).

In her first volume of new poems in twelve years, Rita Dove investigates the vacillating moral compass guiding America’s, and the world’s, experiments in democracy. Whether depicting the first Jewish ghetto in sixteenth-century Venice or the contemporary efforts of Black Lives Matter, a girls’ night clubbing in the shadow of World War II or the doomed nobility of Muhammad Ali’s conscious objector stance, this extraordinary poet never fails to connect history’s grand exploits to the triumphs and tragedies of individual lives.

Meticulously orchestrated and musical in its forms, Playlist for the Apocalypse collects a dazzling array of voices: an elevator operator simmers with resentment, an octogenarian dances an exuberant mambo, a spring cricket philosophizes with mordant humor on hip hop, critics, and Valentine’s Day. Calamity turns all too personal in the book’s final section, “Little Book of Woe,” which charts a journey from terror to hope as Dove learns to cope with debilitating chronic illness.

At turns audaciously playful and grave, alternating poignant meditations on mortality and acerbic observations of injustice, Playlist for the Apocalypse takes us from the smallest moments of redemption to catastrophic failures of the human soul. Listen up, the poet says, speaking truth to power; what you’ll hear in return is “a lifetime of song.”

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Claudia Rankine's bold new book recounts mounting racial aggressions in ongoing encounters in twenty-first-century daily life and in the media. Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV--everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.

A debut collection of lyric poems interrogating the generational implications of the Great Migration to Northern California. 

Ankle-Deep in Pacific Water, a debut collection by E. Hughes, marries personal narrative with historical excavation to articulate the intricacies of Black familial love, life, and pain. Tracing the experiences of a southern Black family, their migration to the San Francisco Bay area, and the persistent anti-Blackness there (despite the state’s insistence that it is/was not involved in the US’ projects of imperialism or chattel slavery), Hughes illuminates the intersections of history, grief, and violence.

At the book’s heart is “The Accounts of Mammy Pleasant,” a persona poem written from the perspective of the formerly enslaved abolitionist and financier Mary Ellen Pleasant who is thought to have helped fund John Brown’s raid on Harpers Ferry. Alongside this historical account, Hughes deftly weaves in the story of a contemporary Black family navigating the generational trauma resulting from the Great Migration: domestic violence and racialized violence, familial love and loyalty, the work of parenting, and the work of being a child. Ankle-Deep in Pacific Water reveals in its pages that, while many things have changed over time, ultimately the question of what “freedom” meant and looked like for Black people in the early 20th century retains the same murkiness and contradictions for Black people today.

A breathtaking poetry collection on hope, heart, and heritage from the most prominent and promising Black poets and writers of our time, edited by #1 New York Times bestselling author Kwame Alexander.

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A brave new collection of poems from Sandra Cisneros, the best-selling author of The House on Mango Street.

It has been twenty-eight years since Sandra Cisneros published a book of poetry. With dozens of never-before-seen poems, Woman Without Shame is a moving collection of songs, elegies, and declarations that chronicle her pilgrimage toward rebirth and the recognition of her prerogative as a woman artist. These bluntly honest and often humorous meditations on memory, desire, and the essential nature of love blaze a path toward self-awareness. For Cisneros, Woman Without Shame is the culmination of her search for home—in the Mexico of her ancestors and in her own heart.

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Winner of the 2021 Cave Canem Poetry Prize, selected by Rachel Eliza Griffiths

In her virtuosic debut, Courtney Faye Taylor explores the under-told history of the murder of Latasha Harlins—a fifteen-year-old Black girl killed by a Korean shop owner, Soon Ja Du, after being falsely accused of shoplifting a bottle of orange juice. Harlins’s murder and the following trial, which resulted in no prison time for Du, were inciting incidents of the 1992 Los Angeles uprising, and came to exemplify the long-fraught relationship between Black and Asian American communities in the United States. Through a collage-like approach to collective history and storytelling, Taylor’s poems present a profound look into the insidious points at which violence originates against—and between—women of color.

Concentrate displays an astounding breadth of form and experimentation in found texts, micro-essays, and visual poems, merging worlds and bending time in order to interrogate inexorable encounters with American patriarchy and White supremacy manifested as sexual and racially charged violence. These poems demand absolute focus on Black womanhood’s relentless refusal to be unseen, even and especially when such luminosity exposes an exceptional vulnerability to harm and erasure. Taylor’s inventive, intimate book radically reconsiders the cost of memory, forging a path to a future rooted in solidarity and possibility. “Concentrate,” she writes. “We have decisions to make. Fire is that decision to make.”

My Mother Was a Freedom Fighter is poet Aja Monet’s ode to mothers, daughters, and sisters—the tiny gods who fight to change the world.

Textured with the sights and sounds of growing up in East New York in the nineties, to school on the South Side of Chicago, all the way to the olive groves of Palestine, these stunning poems tackle racism, sexism, genocide, displacement, heartbreak, and grief, but also love, motherhood, spirituality, and Black joy.

With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these brilliant new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like "love" and "illness" now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope. With this remarkable third collection, Smith establishes herself among the best poets of her generation.

Nikki Giovanni’s extraordinary final collection—a landmark of American literature—speaks to the fury of our current political moment while reflecting on the tragedies and triumphs of her early life.

For decades, Nikki Giovanni’s poetry has been at the forefront of American culture. The New Book is a towering work of protest against the divisions of our time, leavened with moments of joy and reflection about her indelible legacy, her family history, and the small pleasures of her richly lived life.

In The New Book, Nikki Giovanni slashes at the ridiculousness of our cultural and political climate: “We have no secrets/since the world shrunk/and the icebergs melted/and all the year books/are digitized./… and we press Like/or No Like/as if it mattered.”

She remembers 2020 and its cataclysmic reckoning with police brutality and white supremacy: “I do understand that republicans/Are cowards and so are those nazis/Cheering/And those kkk we now call police killing/Not to mention father and sons chasing unarmed Black men/and running their cars into crowds/Pretending they are brave or something/They are not only cowards/And nazis but evil fools/And who go to bed white/Wake up American/And hate themselves for having/To share this earth/They will not overcome/And we will not love them.”

But also in the same poem: “But what does 2020 mean to me/A chance to learn to open oysters/Talk to my friends/Catch up on my reading/Tell myself I am going to dust the house/Lie about it/...Enjoy my own company not to mention football/And remember there will be tomorrow/Because there will be/And evil will go and good will come/I am Black/We have seen much worse.”

With this collection, which includes brief letters and short prose from her life as well as poetry, Giovanni reaffirms her place as a giant of literature, a canny truth-teller, an indispensable radical orator, and one of America’s preeminent cultural critics. It is a book to be savored, and shared.

"If there was a need for poetry that galvanized and inspired, there was also a demand for poetry that comforted and unified — and Ms. Giovanni provided on both counts." — The Washington Post

Slices of Black American Life is a raw, electrifying yet polished articulation of Black America—its past, present, and future woven through Blaxploitation-inspired poetry and storytelling with cinematic flair.

It possesses a jazz rhythm in tone, MR. TOMONOSHi!’s words tap dance across the page—each syllable hitting like a beat, each line swinging with improvised brilliance.

Each piece offers a window into the fantastical worlds of Black American life, where reality and imagination collide—the characters breathe, move, speak, inviting you in, pulling you close, immersing you deep into the roots of the Black American experience.

A whimsical realness pulsates throughout its entirety.

This collection is more than homage—it’s an ode to the brilliance of Blaxploitation, capturing its bold aesthetics, fearless spirit, and unfiltered truth. Every poem, every story, cuts deep, speaks loud, and refuses to be forgotten.

In a career that has spanned more than a quarter century, Nikki Giovanni has earned the reputation as one of America's most celebrated and controversial writers. Now, she presents a stunning collection of love poems that includes more than twenty new works.

From the revolutionary "Seduction" to the tender new poem, "Just a Simple Declaration of Love," from the whimsical "I Wrote a Good Omelet" to the elegiac "All Eyez on U," written for Tupac Shakur, these poems embody the fearless passion and spirited wit for which Nikki Giovanni is beloved and revered.

Romantic, bold, and erotic, Love Poems expresses notions of love in ways that are delightfully unexpected. Articulating in sensuous verse what we know only instinctively, Nikki Giovanni once again confirms her place as one of our nations's most distinguished poets and powerful truth-tellers.

"If there was a need for poetry that galvanized and inspired, there was also a demand for poetry that comforted and unified — and Ms. Giovanni provided on both counts." — The Washington Post