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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.

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.

Selected Poems is the classic volume by the distinguished and celebrated poet Gwendolyn Brooks, winner of the 1950 Pulitzer Prize, and recipient of the National Book Foundation Medal for Distinguished Contribution to American Letters. This compelling collection showcases Brooks's technical mastery, her warm humanity, and her compassionate and illuminating response to a complex world. This edition also includes a special PS section with insights, interviews, and more—including a short piece by Nikki Giovanni entitled "Remembering Gwen."

By 1963 the civil rights movement was in full swing across the United States, and more and more African American writers were increasingly outspoken in attacking American racism and insisting on full political, economic, and social equality for all. In that memorable year of the March on Washington, Harper & Row released Brooks’s Selected Poems, which incorporated poems from her first three collections, as well as a selection of new poems.

This edition of Selected Poems includes A Street in Bronzeville, Brooks's first published volume of poetry for which she became nationally known and which led to successive Guggenheim fellowships; Annie Allen, published one year before she became the first African American author to win the Pulitzer Prize in any category; and The Bean Eaters, her fifth publication which expanded her focus from studies of the lives of mainly poor urban black Americans to the heroism of early civil rights workers and events of particular outrage—including the 1955 Emmett Till lynching and the 1957 school desegregation crisis in Little Rock, Arkansas.

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.

FINALIST FOR THE 2020 NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRY
FINALIST FOR THE 2021 NAACP IMAGE AWARD FOR POETRY

Danez Smith is our president

Homie is Danez Smith’s magnificent anthem about the saving grace of friendship. Rooted in the loss of one of Smith’s close friends, this book comes out of the search for joy and intimacy within a nation where both can seem scarce and getting scarcer. In poems of rare power and generosity, Smith acknowledges that in a country overrun by violence, xenophobia, and disparity, and in a body defined by race, queerness, and diagnosis, it can be hard to survive, even harder to remember reasons for living. But then the phone lights up, or a shout comes up to the window, and family―blood and chosen―arrives with just the right food and some redemption. Part friendship diary, part bright elegy, part war cry, Homie is the exuberant new book written for Danez and for Danez’s friends and for you and for yours.

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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.

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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.”

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In this exquisite book, Alice Walker’s first new collection of poetry since 1991, are poems that reaffirm her as “one of the best American writers of today” (The Washington Post). The forces of nature and the strength of the human spirit inspire the poems in Absolute Trust in the Goodness of the Earth. Alice Walker opens us to feeling and understanding, with poems that cover a broad spectrum of emotions. With profound artistry, Walker searches for, discovers, and declares the
fundamental beauty of existence, as she explores what it means to experience life fully, to learn from it, and to grow both as an individual and as part of a greater spiritual community.

About Walker’s Horses Make a Landscape Look More Beautiful, America said, “In the tradition of Whitman, Walker sings, celebrates and agonizes over the ordinary vicissitudes that link and separate all of humankind,” and the same can be said about this astonishing new collection, Absolute Trust in the Goodness of the Earth.

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.

A deeply wrought and joyful debut poetry collection from an exciting new voice.  Looping exultantly through the overlapping experiences of girlhood, Blackness, sex, and personhood in America, award-winning essayist and poet Kendra Allen braids together personal narrative and cultural commentary, wrestling with the beauty and brutality to be found between mothers and daughters, young women and the world, Black bodies and white space, virginity and intrusion, prison and freedom, birth and death. Most of all, The Collection Plate explores both how we collect and erase the voices, lives, and innocence of underrepresented bodies—and behold their pleasure, pain, and possibility.

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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.

From award-winning poet and novelist Phillip B. Williams, an astonishing new collection that revels in the possibility of creating one's own light

Captivating for both its grandeur and intimacy, Lift Every Voice explores the capacity for the past to be both a source of dread and empowerment, an unshakable reminder of violence and an indelible testament to the endurance of love. In virtuosic poems that are wise, musical, richly layered, and saturated with vivid imagery, Williams honors a mother "who knew seven ways to say bitch under her breath," a grandma whose smile "reflects the world," and wonders at "the impossible lift" of forgiveness. Lift Every Voice is a staggering tribute to personal and collective evolutions, a vital chorus that answers only to God, community, and the empowered self.

The acclaimed poetic force celebrates the practice of poetry as healing and prayer in this vital, life-affirming collection about surviving the void and touching the divine—the second book in a creative collaboration between Amistad and Moore Black Press.

At age fifteen, Barbara Fant tragically lost her mother, and her world was suddenly upended. “I became an angry teenager. I was mad at the world.,” she recalls. “I even stopped praying, but I began to write. Poetry became my way of communication, my way of processing . . . it became my way to pray.”

Rebirth, renewal, and healing are the heart of Joy in the Belly of a Riot. Fant’s monumental collection is a continuation of her lifelong project of using poetry as prayer; this is healing-informed poetry to restore herself, her community, and the world. Exquisitely lyrical and boldly resonant, Fant’s poems excavate the nightmares of a childhood marked by poverty, violence, racism, and the loss of countless loved ones. Suffering seemed endemic to neighborhoods like hers, and yet, in Fant’s own words, “I keep trying to write about the trauma, but the joy won’t let me.”

Steeped in a rich Black Christian tradition and drawing on Scripture for artistic inspiration, Fant’s verse offers solace and guidance for all, from the devout to the skeptical. In these poems Fant demands that we see her, and her community, throug more than our grief. As she closes this profound collection, Fant gently preaches that we choose life and reminds us that “wholeness is our birthright.”

Joy in the Belly of a Riot is a healing balm in times of sustained uncertainty and a rock upon which we can build and sustain a foundation of joy. Fant’s essential message demands to be heard, now more than ever.

From Whiting Award–winner Rickey Laurentiis, a mythic, lyric, decade-in-the-making new collection of masterful poems that probe the meanings of trans/formation and re-creation, a new classic about gender and love

When Rickey Laurentiis debuted in 2015 with Boy with Thorn, the poetry world heralded the arrival of an astonishing new lyric talent. “Call Rickey Laurentiis’ stylistic range virtuosity or call it correctly, necessity,” Terrance Hayes wrote. In the past decade, as Laurentiis has transitioned, her ideas of the lyric and poetry have transformed, as has the America in which she lives. This staggering, irreverent, gentle, and erotic book is a record of that ten-year journey. It draws on, expands, and then fractures the many poetic traditions which informed Laurentiis’s poetics—from Greek odes and early Black Spirituals to the work of Whitman and Dickinson and the mid-century cinematic icon The Lady Chablis.

Then, brick by brick, she builds them anew and makes them her own. She maps a path onto the contradictions, precarity, and revelry of her hometown, “New Orleans / As that modern text, witnessed, and revised, by the light as radically / As by the water, which is history, which slip / Thru your hands. This city is a ghost for hire.” With this as her frame, Laurentiis meditates on what it means to be trans and Black in this nation and in her own body, when both demarcations are often excuses for violence. She goes further, examining pleasure and deep-felt pain, in a rhythmic, wild embrace of life, an act of spirit work and self-grace. “You see something in me,” she writes, “something grand, / Your very cowardice yearns for; you / Who would want to own it, wear it, be by it adorned, / It is so rare a thing, so fine as I am, and seemingly / Fragile, creole, and easily decadent: it is like a tree, then.”

In a world where what one is, and how one looks, or even just the idea of a person can get one killed, this is transformative work. This collection does not stump for its humanity, nor does it compromise its art in order to speak in its own voice. Sprung to its own sound, celebratory without apology, this is a book which reclaims the act of poetry itself, too, for the way it can reshape the writer, the mind, the body, the story we choose, and the images the world can imprint on us. (Can poetry do that?) Approaching from every angle and expanding in every direction as we read, Death of the First Idea probes every aspect of transformation. Celebratory, interrogatory, reclamatory, full of rage and range, these are poems for the storms of our time.

WASH brutally dissects black womxnhood for all its blood, beauty, sacrifice and strength. Ebony Stewart's praise and pleas for the lives of black womxn create a devotional space for healing.

Stewart's third collection is uncompromising and emotionally raw. Through trauma and recovery, black girlhood comes of age in WASH, journeying through moments of self-discovery, mental illness, love and heartbreak. Stewart reckons traditional definitions of womxnhood, exploring its complications, its communities, and its queerness.

With a distinct, lyrical poetic voice, WASH tells a story of queer, black womxnhood that perseveres. A collection that will bring you to tears and brighten your day, Ebony Stewart's WASH cannot be missed!

The first installment in the Healing Verses series from prolific writer and poet r.h. Sin comes New Moons, a profound collection of restorative poetry woven together to address the intricate journey of healing from trauma.

Through its beautiful narrative and empathetic voice, New Moons: Phases of Healing stands as a testament to the transformative power of words in healing the soul and rebuilding a life touched by trauma. In this collection of reflections and poetry, r.h. Sin takes readers along the journey of heartbreak that led him to a new a joyful place of resilience and self-renewal in hopes that they, too, might find themselves on the other side of hurt and renewed by the promise of new love in all its many forms.
 
Designed to be a beacon of light and hope, the carefully selected writings within these pages explore themes of loss, grief, recovery, and the rediscovery of strength within oneself, making it a compassionate companion for anyone navigating the challenging process of healing. Start your journey today, guided by the light of New Moons.

One of America’s most celebrated poets challenges us with this powerful and deeply personal collection of verse that speaks to the injustices of society while illuminating the depths of her own heart.

For more than fifty years, Nikki Giovanni’s poetry has dazzled and inspired readers. As sharp and outspoken as ever, she returns with this profound book of poetry in which she continues to call attention to injustice and racism, celebrate Black culture and Black lives, and give readers an unfiltered look into her own experiences.

In Make Me Rain, she celebrates her loved ones and unapologetically declares her pride in her Black heritage, while exploring the enduring impact of the twin sins of racism and white nationalism. Giovanni reaffirms her place as a uniquely vibrant and relevant American voice with poems such as “I Come from Athletes” and “Rainy Days”—calling out segregation and Donald Trump; as well as “Unloved (for Aunt Cleota)” and “When I Could No Longer”—her personal elegy for the relatives who saved her from an abusive home life.

Stirring, provocative, and resonant, the poems in Make Me Rain pierce the heart and nourish the soul. 

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.

“Words carry the dead like henchmen,” in Joshua Burton’s extraordinary debut volume, Grace Engine. These spare and powerful poems are like pallbearers, like eulogists, like survivors, like battered souls hoping and dreaming for a future that may never be. Grappling head-on with the history of lynchings, mental illness, and the endurance of black bodies and psyches against impossible odds, Burton writes, “I spent so many years being afraid to be black, that now / I am only afraid of silence, / / or the silence that it brings.”

Burton experiments with spaces, absences, and forms in navigating the tensions between shame and accountability, guilt and forgiveness, to understand how one finds the ability to cope under the worst of conditions. With patience and ferocity, he delves into generational and familial trauma to question whether black strength is inherent to blackness and to build a mechanism to survive and heal.
 
I love all the dead,
both at the moment they unwed 

themselves of shame
and before that.
—Excerpt from “Grace Engine”

This landmark Latinx poetry collection offers "a wondrous journey through the passions, the ideas, and the diversity of a people redefining what it means to be American" (Héctor Tobar, Pulitzer Prize winner)

Includes more than 180 poets, spanning from the 17th century to today, and presents those poems written in Spanish in the original and in English translation

For nearly five centuries, the rich tapestry of Latino poetry has been woven from a wealth of languages and cultures—a “tremendous continental mixturao,” in the words of the poet Tato Laviera.

Now, in an unprecedented anthology edited by the poet and critic Rigoberto González, Library of America brings together more than 180 poets whose poems bear witness to the beauty and power of this vital and expanding tradition: its profound engagement with pasts both mythical and historical, its reckoning with the complexities of language, land, and identity, and its vision of a nation enriched by the stories of immigrants, exiles, refugees, and their descendants.

There are a brilliant array of contemporary voices here as well, spinning out the tapestry of Latino poetry in daring new directions. Taking the measure of this current renaissance, the anthology culminates with the most comprehensive survey of twenty-first century Latino poetry yet published.

Featured poets include:

* José Martí
* Julia de Burgos
* Sandra Cisneros
* Pedro Pietri
* Juan Felipe Herrera
* Jaime Manrique
* Javier Zamora
* Aracelis Girmay
* Natalie Diaz
* U.S. Poet Laureate Ada Limón, and
* 2023 Pulitzer Prize winner Brandon Som.

This groundbreaking collection captures as never before the richness, diversity, and power of the Latino poetic imagination.

Evie Shockley's new poems invite us to dream―and work―toward a more capacious "we"

In her new poetry collection, Evie Shockley mobilizes visual art, sound, and multilayered language to chart routes towards openings for the collective dreaming of a more capacious "we." How do we navigate between the urgency of our own becoming and the imperative insight that whoever we are, we are in relation to each other? Beginning with the visionary art of Black women like Alison Saar and Alma Thomas, Shockley's poems draw and forge a widening constellation of connections that help make visible the interdependence of everyone and everything on Earth.

perched

i am black, comely,
a girl on the cusp of desire.
my dangling toes take the rest
the rest of my body refuses. spine upright,
my pose proposes anticipation. i poise
in copper-colored tension, intent on
manifesting my soul in the discouraging world.

under the rough eyes of others, i stiffen.

if i must be hard, it will be as a tree, alive
with change. inside me, a love of beauty rises
like sap, sprouts from my scalp
and stretches forth. i send out my song, an aria
blue and feathered, and grow toward it,
choirs bare, but soon to bud. i am
black and becoming.

        ―after Alison Saar's Blue Bird

Who are Black Creoles? Saloy's new poems address ancestral connections to contemporary life, traditions celebrated, New Orleans Black life today, Louisiana Black life today, enduring and surviving hurricanes, romance, #BlackLivesMatter, #wematter, as well as poems of the pandemic lockdown from New Orleans. Saloy's new collection of verse advances and updates narratives of Black life to now, including day-to-day Black speech, the lives of culture keepers, and family tales. These poems detail cultural and historical memory of enslavement not taught and offer healing and hope for tomorrow.

In Trace Evidence, the urgent follow-up to his award-winning debut Into Each Room We Enter without Knowing, Charif Shanahan continues his piercing meditations on the intricacies of mixed-race identity, queer desire, time, mortality, and the legacies of anti-Blackness in the US and abroad. At the collection’s center sits “On the Overnight from Agadir,” a poem that chronicles Shanahan’s survival of a devastating bus accident in Morocco, his mother’s birth country, and ruminates on home, belonging, and the mysteries of fate. With rich lyricism, power, and tenderness, Trace Evidence centers the racial periphery and excavates the vestiges of our violent colonial past in the most intimate aspects of our lives. In a language yoked equally to the physical and metaphysical worlds, the poet articulates the need we all share for real intimacy and connection, and proves, time and again, that the true cost of our separateness is the love that our survival requires.

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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.

WINNER OF THE 2020 PULITZER PRIZE FOR POETRY

Finalist for the 2019 National Book Award

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At the March On Washington in 1963, Josephine Baker was 57 years old, well beyond her most prolific days. But in her speech at the march, she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. From those few words, Hanif Abdurraqib has written a profound and lasting reflection on how black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the 27 seconds in “Gimme Shelter” where Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in black and white culture, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.

“Patricia Smith is the greatest living poet. Every book is better than the last.” —Danez Smith, The Guardian

A collection of the finest new and selected poems from one of the most groundbreaking voices in contemporary poetry, a “masterful performer and poet of voices too little heard” (Poetry Foundation).

The Intentions of Thunder gathers, for the first time, the essential work from across Patricia Smith’s decorated career. Here, Smith’s poems, affixed with her remarkable gift of insight, present a rapturous ode to life. With careful yet vaulting movement, these poems traverse the redeeming landscape of pain, confront the frightening revelations of history, and disclose the joyous possibilities of the future. The result is a profound testament to the necessity of poetry—all the careful witness, embodied experience, and bristling pleasure that it bestows—and of Smith’s necessary voice.

Lyrical and sly, meditative and volcanic, The Intentions of Thunder stunningly explores the fullness of living. The inimitable poetry of Patricia Smith radiates in The Intentions of Thunder—reaffirming Smith’s place as one of the indispensable poets of our time.

The perfect introduction to one of the most important writers to emerge from the Harlem Renaissance of the 1920s and ‘30s, featuring a career-spanning collection of poems and three of his most powerful stories.

"Langston Hughes is a titanic figure in 20th-century American literature ... a powerful interpreter of the American experience." The Philadelphia Inquirer

Hughes's work blends elements of blues and jazz, speech and song, into a triumphant and wholly original idiom.

Vintage Hughes includes the famed poems “The Negro Speaks of Rivers,” “I, Too,” “The Weary Blues,” “America,” “Let America Be America Again,” “Dream Variations,” “Young Sailor,” “Afro-American Fragment,” “Scottsboro,” “The Negro Mother,” “Good Morning Revolution,” “I Dream a World,” “The Heart of Harlem,” “Freedom Train,” “Song for Billie Holliday,” “Nightmare Boogie,” “Africa,” “Black Panther,” “Birmingham Sunday,” and “UnAmerican Investigators”; and three stories from the collection The Ways of White Folks: “Cora Unashamed,” “Home,” and “The Blues I’m Playing.”

Publishers Weekly’s Top Ten Fall 2024 Poetry Books

From Harlem Renaissance poet Langston Hughes, a stunning collection of early works—both polished poems andraw, unfinished, works-in-progress written from 1921-1927—curated by award winning poet and National Book Award finalist, Danez Smith.

Before Langston Hughes and his literary prowess became synonymous with American poetry, he was an eighteen-year-old on a train to Mexico City, seeking funds to pursue his passion. His early poems see Hughes finding his voice and experimenting with style and form. Beloved verses like “The Negro Speaks of Rivers,” were written without formal training, often on the back of napkins and envelopes, and were inspired by the sights and sounds of Black working-class people he encountered in his early life. 

Blues in Stereo is a collection of select early works, all written before the age of twenty-five, in which we see Langston Hughes with fresh eyes. From the intimate pages of his handwritten journals, you will travel with Hughes outside of Harlem as he ventures to the American South and Mexico, sails through the Caribbean, and becomes the only Harlem renaissance poet to visit Africa. His poems and journal entries celebrate love as a tool of liberation. His songs showcase the musicality of verse poetry. And the collection even includes a play he cowrote with Duke Ellington with a full score that experiments with rhythm and structure.

Blues in Stereo portrays a young man coming of age in a changing world. Page by page, a young, fresh-faced Hughes contends with matters beyond his years with raw talent. And by keeping his original, handwritten notations found in archival material, we get to witness a genius’s earliest thought process in real time. National Book Award-nominated poet Danez Smith offers their insight and notes on themes, challenges, and obsessions that Hughes early work contains. Beautifully rendered and thoughtfully curated, Blues in Stereo foreshadows a master poet that will go on to define literature for centuries to come.

EVENT DEETS

When: February 26 at 6:00 PM CST

Where: Kindred Stories (2304 Stuart Street, HTX 77004)

How: RSVP to save your spot. Books will be on sale at the event!

ABOUT THE EVENT

ABOUT POETS

Jasminne Mendez is a Dominican-American poet, playwright, educator and award-winning author. Mendez has had poetry and essays published by The Acentos Review, The New England Review, Kenyon Review, Gulf Coast, and others. She is an alumni of the Rainier Writing Workshop at Pacific Lutheran University and the author of several books for children and adults including Island of Dreams which won an International Latino Book Award in 2015. She is a faculty member with the Goddard College MFA Creative Writing Program and she lives in Houston, TX. 

Yesenia Montilla is an Afro-Latina poet & a daughter of immigrants. She received her MFA from Drew University in Poetry & Poetry in translation. She is CantoMundo graduate fellow and a 2020 NYFA fellow. Her work has been published in Academy of American Poets Poem-a-Day, Prairie Schooner, Gulf Coast and in Best of American Poetry 2021 and forthcoming in Best of American Poetry 2022. Her first collection The Pink Box is published by Willow Books & was longlisted for a PEN award. Her second collection Muse Found in a Colonized Body is forthcoming from Four Way Books, 2022. She lives in Harlem, NY.

Raina J. León, PhD is Black, Afro-Boricua from Philadelphia (Lenni Lenape ancestral lands). She is a mother, daughter, sister, madrina, comadre, partner, poet, writer, and teacher educator. She believes in collective action and community work, the profound power of holding space for the telling of our stories, and the liberatory practice of humanizing education. She seeks out communities of care and craft and is a member of the Carolina African American Writers Collective, Cave Canem, CantoMundo, Macondo. She is the author of Canticle of Idols, Boogeyman Dawn,  sombra : (dis)locate, and the chapbooks, , profeta without refuge and Areyto to Atabey: Essays on the Mother(ing) Self. She publishes across forms in visual art, poetry, nonfiction, fiction, and scholarly work.  She has received fellowships and residencies with the Obsidian Foundation, Community of Writers, Montana Artists Refuge, Macdowell, Kimmel Harding Nelson Center for the Arts, Vermont Studio Center, the Tyrone Guthrie Center in Annamaghkerrig, Ireland and Ragdale, among others. She is a founding editor of The Acentos Review, an online quarterly, international journal devoted to the promotion and publication of Latinx arts. She educates our present and future agitators/educators as a full professor of education at Saint Mary’s College of California, only the third Black person (all Black women) and the first Afro-Latina to achieve that rank there.  She is additionally a digital archivist, emerging visual artist, writing coach, and curriculum developer.