From the award-winning poet at the height of his career, a book of personal and American experiences, both beautiful and troubling, touching on the generative cycle of loss and renewal

Following on his exquisite Stones, Kevin Young’s new collection, written over the span of sixteen years, shapes stories of loss and legacy, inspired in part by other lives. After starting in the bayous of his family's Louisiana, Young journeys to further states of mind in “All Souls,” evoking “The whale / who finds the shore / & our poor prayers.” Another central sequence, “The Two-Headed Nightingale,” is spoken by Millie-Christine McCoy, the famous conjoined African American “Carolina Twins.” Born into enslavement, stolen, and then displayed by P. T. Barnum and others, the twins later toured the world as free women, their alto and soprano voices harmonizing their own way. Young’s poem explores their evolving philosophical selfhood and pluralities: “As one we sang, /we spake— / She was the body / I the soul / Without one / Perishes the whole.”
In “Darkling,” a cycle of poems inspired by Dante’s Divine Comedy, Young expands and embroiders the circles of Hell, drawing a cosmology of both loneliness and accompaniment, where “the dead don’t know / what to do / with themselves.” Young writes of grief and hope as familiar yet surprising states: “It’s like a language, / loss—,” he writes, “learnt only / by living—there—.” Evoking the history of poetry, from the darkling thrush to the darkling plain, Young is defiant and playful on the way through purgatory to a kind of paradise. When he goes, he warns, “don't dare sing Amazing Grace”—that “National / Anthem of Suffering.” Instead, he suggests, “When I Fly Away, / Don't dare hold no vigil . . . Just burn the whole / Town on down.”
This collection will stand as one of Young’s best—his voice shaping sorrow with music, wisdom, heartache, and wit.

A pilgrimage of poems, stories, voices, and mixed-media collage through the lives of three generations of Black women.

How can we memorialize our dead? How can that memorialization rend the veil between the dead and the living? In her debut volume, brittny ray crowell sifts through decades of obituaries, journals, and other ephemera to exhume the generations of her family from her hometown of Texarkana, Texas. She preserves her relatives’ stories in writing and in works of collage, a style of archive that layers the past and the present literally and poetically.

This unique approach transforms Cord Swell into an altar, an artistically enshrined space where crowell communes with the past and looks to the future. The title poem, in which crowell speaks to an aunt who passed away, poignantly asks, “if there’s any such thing / as paradise . . . / better than the warmth / of your neck . . . / how close am i / to that context of space?” Her question acts as a provisional thesis statement for this collection, a poetic attempt to reveal, redress, and interpret those who came before her, especially in the absence of physical traces. Each poem imagines ways to access family members who have died and calls out to ancestors crowell never met.

In the process, crowell demonstrates capacious syntactical range, nimbly leaping from haibun to erasure poems, interviews to sonnets. She also invents forms she calls “grooves,” which are structured as album tracklists. These techniques marry form with meaning, echoing the voices of lost loved ones in indelible verse. Rhapsodic, inventive, and ambitious, Cord Swell establishes crowell as one of the most creative and dynamic new voices in poetry.

9 black-and-white illustrations

A long-awaited, comprehensive collection of renowned poet and performance artist Jayne Cortez’s poetry.

Like the jazz rhythms that inspired and punctuated her practice, Jayne Cortez improvised her way through and across disciplines, bridging poetry and performance with music and the visual arts to create a unique body of work. Consciously rupturing the boundaries between art and politics, Cortez’s practice uneasily fits within literary movements of the 20th century, residing everywhere and nowhere between the Black Arts Movement, Surrealism, feminism, and early performance art. As intersectional as it is interdisciplinary, her work is consistently visceral and fearless, acting as a powerful expression of collective rage on behalf of the disenfranchised and dispossessed. In the words of historian Robin D.G. Kelley, “her poetry was never ‘protest’ but a complete revolt, a clarion call for a new way of life.”

A Puerto Rican trans epic that blends poetic play and speculative fiction, by a Lambda Literary Award winner

Algarabía follows Cenex, a trans being who narrates his life while navigating the stories told on his behalf. An inhabitant of a colony of Earth in a parallel universe, Cenex leads us through his years as an experimental subject, a stay in suburbia, and not-so-far-off lands as he struggles to find a name, a body, and a stable home. His song clashes variegated sources with work by cis writers on trans figures, referencing everything from Clueless to Taino cosmology within a single line.

Algarabía inscribes an origin narrative for trans people in the face of their erasure from colonial and anti-colonial literary canons, laughing at its own survival with sharp, unserious rage.

Una epopeya puertorriqueña trans que mezcla poesía y narrativa especulativa, por un ganador del Premio Lambda

Algarabía sigue a Cenex, un ser trans que narra su vida retrospectivamente mientras navega por las historias contadas en su nombre. Habitante de una colonia de la Tierra en un universo paralelo, Cenex nos conduce a través de sus años como sujeto experimental, una estancia suburbana, unas tierras no tan lejanas y su lucha por encontrar un cuerpo y un hogar estables. Su canto enfrenta textos de escritores cis sobre figuras trans con una variedad de fuentes, haciendo referencia a Clueless y a la cosmología taína dentro de un mismo verso.

Algarabía inscribe un mito fundacional para las personas trans frente a su exclusión de los cánones literarios coloniales y anticoloniales y se ríe de su propia supervivencia con una rabia pícara y aguda.

"Jazz is my religion, and surrealism is my point of view."

Ted Joans was one of the first Beat poets in the Greenwich Village arts scene, pioneering a movement that often overlooked his profound contributions. His poetry mixes the rhythms of jazz music with “hand grenades” of truth, and his live reading performance style anticipated the spoken word movement.

Black Pow-Wow is a collection of the best of Joans’ early poetry, including such well-known poems as “Jazz Is My Religion,” “Passed On Blues: Homage to a Poet,” and “The Nice Colored Man.” Many of his poems speak to his friends and contemporaries--including Charlie Parker, Jack Kerouac, Allan Ginsberg, Bob Kaufman, Salvador Dali, Andre Breton, and particularly Langston Hughes--as well as his extensive travels across the African continent and around the world. His avante-garde poems also reflect his style as a painter and collage artist, call for social protest, and denounce racism, sexual repression, and injustice.

This groundbreaking collection, one of only two mainstream publications Joans produced, perfectly captures the pulse of the Beat Generation and the rhythms of blues.

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.”

Urgent new poems on race and gender inequality, and select poems drawing upon Domestic Work, Bellocq’s Ophelia, Native Guard, Congregation, and Thrall, from two-time U.S. Poet Laureate and Pulitzer Prize winner Natasha Trethewey.

Layering joy and urgent defiance―against physical and cultural erasure, against white supremacy whether intangible or graven in stone―Trethewey’s work gives pedestal and witness to unsung icons. Monument, Trethewey’s first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, and Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet’s own family history of trauma and loss, resilience and love.

In this setting, each poem drawn from an “opus of classics both elegant and necessary,”* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet’s remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future.

*Academy of American Poets’ chancellor Marilyn Nelson

“[Trethewey’s poems] dig beneath the surface of history―personal or communal, from childhood or from a century ago―to explore the human struggles that we all face.” ―James H. Billington, 13th Librarian of Congress

An arresting study of memory, perception, and the human condition, from the Pulitzer Prize winner Carl Phillips.

Carl Phillips’s Scattered Snows, to the North is a collection about distortion and revelation, about knowing and the unreliability of a knowing that’s based on human memory. If the poet’s last few books have concerned themselves with power, this one focuses on vulnerability: the usefulness of embracing it and of releasing ourselves from the need to understand our past. If we remember a thing, did it happen? If we believe it didn’t, does that make our belief true?

In Scattered Snows, to the North, Phillips looks though the window of the past in order to understand the essential sameness of the human condition―“Tears / were tears,” mistakes were made and regretted or not regretted, and it mattered until it didn’t, the way people live until they don’t. And there was also joy. And beauty. “Yet the world’s still / so beautiful . . . Sometimes // it is . . .” And it was enough. And it still can be.

A dazzling docupoetic debut collection interweaving ripped-from-the-headlines pop culture herstories with the personal narratives of Whitney Houston, Aaliyah, Lisa “Left Eye” Lopes, and others, to interrogate celebrity, identity, sexuality, industry abuse, death, and the afterlives of stardom.

“I made, of my bones, an earth for you: turned the oceans
your favorite shade of light, that deepened, nearly bruised
dusk. reflected in my palms, what I’ve made into water
glows amethyst: when you drink from it, you are iridescent”
 
In Dead Girl Cameo, m. mick powellclosely examines the experiences of Aaliyah Haughton, Lisa “Left Eye” Lopes, Whitney Houston, and other notable superstars who died tragically too soon. How did these starlets challenge conventional representations of Black femininity and friendship, and forever transform the musical landscape? How were the artistries and addictions of these women of color impacted from surviving in the limelight and, often, in the very same industry as their abusers? How did the literal and metaphorical deaths of these Black women superstars establish legacies of Black queer femme existence and afterlife?
 
In stunning imagery and sensual wordplay using ekphrasis, erasure, digital collage, archival research, and speculative nonfiction in verse, Dead Girl Cameo traverses the intimate realms of superstars to reconfigure Black girlhood, survivorhood, femme friendship, and queer fandom.

“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”

A radical rethinking of poetics and the negation of borders from more than 40 Latinx poets.

Até Mais: Until More gathers poets from a diverse spectrum of Latinidad, sharing their truths, visions, wonderments, fears, and revelations. Visions of collective futures emerge from a resistance to colonialist projects, displacement, and anti-indigenous settler cultures.

In this anthology, Latinx poets engage in a radical rethinking of what our society can (or cannot) achieve through imagination. Despite/against the presence of borders, the unity enacted within these pages creates a mission of community resistance.

A visionary anthology that examines and reimagines the archive as a form of collective record-keeping, featuring work by Alexis Pauline Gumbs, Douglas Kearney, Brenda Shaughnessy, Mahogany L. Brown, and many new and emerging voices.

Inspired by Naima Yael Tokunow’s research into the Black American record (and its purposeful scarceness), Permanent Recordasks, what do we gain when we engage with our flawed cultural systems of remembrance? How does questioning and creating a deep relationship to the archive, and in some cases, spinning thread from air where there is none, allow us to prefigure the world that we want? Including reflections on identity and language, diasporic and first generation lived experiences, and responses to the ways the record upholds harm and provides incomplete understandings, Permanent Record hopes to reframe what gets to be a part of collective remembrance, exploring “possibilities for speculating beyond recorded multiplicity.”

Author of the instant national bestsellers, James and Erasure—the inspiration for the Oscar-winning film American Fiction—Percival Everett is diving back into poetry with his spellbinding new collection, Sonnets for a Missing Key.

Inspired by the Preludes of Chopin and the piano solos of Art Tatum, these sonnets leap and turn through philosophical musings accrued across a life well lived, with inventive language, crystalline imagery, and turns of phrase that lift off the page and glimmer. Everett’s sonnets soar through the musical scale, from A Minor to A Major, exploring relationships, spirituality, compassion, despair, and how the stories we tell ourselves shape our realities.

Everett continuously defies convention with every creative expression and brings his literary audacity back to his poetic roots with this, his sixth collection with Red Hen Press.

Sonnets for a Missing Key is a mesmerizing feat of language that reinforces Percival Everett as one of the great wordsmiths of the century.

Dialect poems by one of the nineteenth century's most talented African American lyricists

Paul Laurence Dunbar was “the most promising young colored man” in nineteenth-century America, according to Frederick Douglass, and subsequently one of the most controversial. His plantation lyrics, written while he was an elevator boy in Ohio, established Dunbar as the premier writer of dialect poetry and garnered him international recognition. More than a vernacular lyricist, Dunbar was also a master of classical poetic forms, who helped demonstrate to post–Civil War America that literary genius did not reside solely in artists of European descent. William Dean Howells called Dunbar’s dialect poems “evidence of the essential unity of the human race, which does not think or feel black in one and white in another, but humanly in all.”

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

This National Book Award-winning debut poetry collection is a "powerfully evocative" (The New York Review of Books) meditation on the black female figure through time.

Robin Coste Lewis's electrifying collection is a triptych that begins and ends with lyric poems meditating on the roles desire and race play in the construction of the self. 

In the center of the collection is the title poem, "Voyage of the Sable Venus," an amazing narrative made up entirely of titles of artworks from ancient times to the present—titles that feature or in some way comment on the black female figure in Western art. Bracketed by Lewis's own autobiographical poems, "Voyage" is a tender and shocking meditation on the fragmentary mysteries of stereotype, juxtaposing our names for things with what we actually see and know.

A new understanding of biography and the self, this collection questions just where, historically, do ideas about the black female figure truly begin—five hundred years ago, five thousand, or even longer? And what role did art play in this ancient, often heinous story? Here we meet a poet who adores her culture and the beauty to be found within it. Yet she is also a cultural critic alert to the nuances of race and desire—how they define us all, including her own sometimes painful history.

Lewis's book is a thrilling aesthetic anthem to the complexity of race—a full embrace of its pleasure and horror, in equal parts.

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A powerful mediation on Blackness, beauty, faith, and the force of law, from the beloved award-winning author of Digest and Air Traffic

Elegant, profound, and intoxicating—Spectral Evidence, Gregory Pardlo’s first major collection of poetry after winning the Pulitzer Prize for Digest, moves fluidly among considerations of the pro-wrestler Owen Hart; Tituba, the only Black woman to be accused of witchcraft during the Salem witch trials; MOVE, the movement and militant separatist group famous for its violent stand-offs with the Philadelphia Police Department (“flames rose like orchids . . . blocks lay open like egg cartons”); and more.

At times challenging and at other times warm, inviting, and deeply personal (“it comes down to this: protecting every breath”), Spectral Evidence forces us to consider how we think about devotion, beauty and art; about the criminalization and death of Black lives; about justice, and how these have been inscribed into our present, our history, and the Western canon: “the forensic dreamer / . . . / . . . my art would be a mortician’s / paints.”

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From the National Book Award–winning author of Lighthead, Terrance Hayes, a fascinating collection of graphic reviews and illustrated prose addressing the last century of American poetry—to be published simultaneously with his latest poetry collection, So to Speak

Canonized, overlooked, and forgotten African American poets star in Terrance Hayes's brilliant contemplations of personal, canonical, and allegorical literary development. Proceeding from Toni Morrison's aim to expand the landscape of literary imagination in Playing in the Dark ("I want to draw a map, so to speak, of a critical geography"), Watch Your Language charts a lyrical geography of reading and influence in poetry. Illustrated micro-essays, graphic book reviews, biographical prose poems, and nonfiction sketches make reading an imaginative and critical act of watching your language. Hayes has made a kind of poetic guidebook with more questions than answers. "If you don't see suffering's potential as art, will it remain suffering?" he asks in one of the lively mock poetry exam questions of this musing, mercurial collection. Hayes's astonishing drawings and essays literally and figuratively map the acclaimed poet's routes, roots, and wanderings through the landscape of contemporary poetry.

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A BreakBeat Poets anthology of writings by Muslims who are women, queer, genderqueer, nonbinary, or trans.

The collected poems dispel the notion that there is one correct way to be a Muslim by holding space for multiple, intersecting identities while celebrating and protecting those identities.

Halal If You Hear Me features poems by Safia Elhillo, Fatimah Asghar, Warsan Shire, Tarfia Faizullah, Angel Nafis, Beyza Ozer, and many others.

Fatimah Asghar is the creator of the Emmy-Nominated web series Brown Girls, now in development for HBO. She is the author of If They Come For Us and a recipient of a 2017 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship. She is a member of the Dark Noise Collective and a Kundiman fellow. In 2017, she was listed on Forbes’s 30 Under 30 list.

Safia Elhillo is the author of The January Children. Sudanese by way of Washington, DC and a Cave Canem fellow, she holds an MFA from the New School. In 2018, she was awarded a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation.

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A dynamic, moving hybrid work that celebrates Black youth, often too fleeting, and examines Black lives lost to police violence. 

In this astonishing volume of poems and lyric prose, Whiting Award–winner A. Van Jordan draws comparisons to Black characters in Shakespearean plays—Caliban and Sycorax from?The Tempest, Aaron the Moor from?Titus Andronicus, and the eponymous antihero of?Othello—to mourn the deaths of Black people, particularly Black children, at the hands of police officers. What do these characters, and the ways they are defined by the white figures who surround them, have in common with Tamir Rice, Trayvon Martin, and other Black people killed in the twenty-first century?

Balancing anger and grief with celebration, Jordan employs an elastic variety of poetic forms, including ekphrastic sestinas inspired by the photography of Malick Sidibé, fictional dialogues, and his signature definition poems that break down the insidious power of words like “fair,” “suspect,” and “juvenile.” He invents a new form of window poems, based on a characterization exercise, to see Shakespeare’s Black characters in three dimensions, and finds contemporary parallels in the way these characters are othered, rendered at once undesirable and hypersexualized, a threat and a joke.

At once a stunning inquiry into the roots of racist violence and a moving recognition of the joy of Black youth before the world takes hold, When I Waked, I Cried to Dream Again expresses the preciousness and precarity of life.

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In her brilliant debut collection of poetry, Diamond Sharp navigates questions of mental health, grief, and joy through her speaker’s sardonic and playful imagination.

Diamond Sharp’s Super Sad Black Girl is a love letter to her hometown of Chicago, where the speaker finds solace and community with her literary idols in hopes of answering the question: What does it look like when Black women are free? 

Lorraine Hansberry and Gwendolyn Brooks appear throughout these poems, counseling the speaker as she navigates her own depression and exploratory questions about the “Other Side,” as do Sandra Bland, Rekia Boyd, and other Black women who have been murdered by police. 

Sharp’s poetry is self-assured, playful, and imaginative, reminiscent of Langston Hughes with its precision and brevity. The book explores purgatorial, in-between spaces that the speaker occupies as she struggles to find a place and time where she can live safely and freely. With her skillful use of repetition, particularly in her series of concrete poems, lines and voices echo across the book so the reader, too, feels suspended within Sharp’s lyric moments. Super Sad Black Girl is a compassionate and ethereal depiction of mental illness from a promising and powerful poet.

A black British poet making her thrilling American debut explores the importance of “quiet” in producing forms of community, resistance, and love.

How does one encounter meaning amid so many kinds of noise? What is quiet when it isn’t silence? Where does quiet exist—and what liberating potential might it hold? These poems dwell on ideas of black interiority, intimacy, and selfhood, and they celebrate as fiercely as they mourn. With a metaphysical edge and a formal restlessness attuned to both the sonics and the inadequacies of language, Quiet navigates the tension between the impulse to guard one’s inner life and the knowledge that, as Audre Lorde writes, "your silence will not protect you."

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Stepmotherland is a tour-de-force debut collection about coming of age, coming out, and coming to America.

Winner of the Andrés Montoya Poetry Prize, Stepmotherland, Darrel Alejandro Holnes’s first full-length collection, is filled with poems that chronicle and question identity, family, and allegiance. This Central American love song is in constant motion as it takes us on a lyrical and sometimes narrative journey from Panamá to the USA and beyond. The driving force behind Holnes’s work is a pursuit for a new home, and as he searches, he takes the reader on a wild ride through the most pressing political issues of our time and the most intimate and transformative personal experiences of his life. Exploring a complex range of emotions, this collection is a celebration of the discovery of America, the discovery of self, and the ways they may be one and the same.

Holnes’s poems experiment with macaronic language, literary forms, and prosody. In their inventiveness, they create a new tradition that blurs the borders between poetry, visual art, and dramatic text. The new legacy he creates is one with significant reverence for the past, which informs a central desire of immigrants and native-born citizens alike: the desire for a better life. Stepmotherland documents an artist’s evolution into manhood and heralds the arrival of a stunning new poetic voice.

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Gayl Jones, the novelist Toni Morrison discovered decades ago and Tayari Jones recently called her favorite writer, offers two books in one with this volume of poetry. Jones renders the saga of Palmares, a foundational tale in the annals of colonial terrorism and Black resistance, in verse, told in the voices of the characters in her epic novel Palmares.

In the late 17th century, the fugitive slave enclave of Palmares was destroyed by Portuguese colonists. Amid the flight and re-enslavement of Palmares’s inhabitants emerges the love story of Almeyda and Anninho. In Song for Anninho, Almeyda moves between a dark present, in which she is once again enslaved and abused by a terrible captor, and memories of her lover, Anninho, whom she believes to have been killed. Song for Almeyda, released now for the first time, is told in the voices of Anninho and his fellow warriors.

Fans of Corregidora (one of the New Yorker’s “Best Books We Read in 2020” picks), which tracked the legacy of enslavement, and Palmares will especially appreciate these verses. Brimming with intimacy, history, and revolution, the poems collected serve as a declaration of decolonial love.

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The expansion of Marvel and DC Comics’ characters such as Black Panther, Luke Cage, and Black Lightning in film and on television has created a proliferation of poetry in this genre—receiving wide literary and popular attention.

This groundbreaking collection highlights work from poets who have written verse within this growing tradition, including Terrance Hayes, Lucille Clifton, Gil Scott-Heron, A. Van Jordan, Glenis Redmond, Tracy K. Smith, Teri Ellen Cross Davis, Joshua Bennett, Douglas Kearney, Tara Betts, Frank X Walker, Tyree Daye, and others. In addition, the anthology will also feature the work of artists such as John Jennings and Najee Dorsey, showcasing their interpretations of superheroes, Black comic characters, Afrofuturistic images from the African diaspora.

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Maya Angelou’s unforgettable collection of poetry lends its name to the documentary film about her life, And Still I Rise, as seen on PBS’s American Masters.

Pretty women wonder where my secret lies.
I’m not cute or built to suit a fashion model’s size
But when I start to tell them,
They think I’m telling lies.
I say,
It’s in the reach of my arms,
The span of my hips,
The stride of my step,
The curl of my lips.
I’m a woman
Phenomenally.
Phenomenal woman,
That’s me.

Thus begins “Phenomenal Woman,” just one of the beloved poems collected here in Maya Angelou’s third book of verse. These poems are powerful, distinctive, and fresh—and, as always, full of the lifting rhythms of love and remembering. And Still I Rise is written from the heart, a celebration of life as only Maya Angelou has discovered it.

Texas Institute of Letters Award finalist for Best First Book of Poetry

In El Rey of Gold Teeth, Reyes Ramirez explores living in America as a first-generation American of Salvadoran and Mexican descent, living among conflicting histories.

Through the voices of an astronaut, a tennis player, a drag queen, family members, an alternate version of the self, and even a turtle, these propulsive poems embody the many marginalized voices demanding to be remembered in a nation that requires erasure of histories.

Colonizing languages and subverting forms, rerouting histories, and finding the mundane made extraordinary, El Rey of Gold Teeth breaks open notions of destiny, in humorous and devastating ways, to reimagine the past and present a new future where lack transforms to abundance, where there will be many answers to every question. Reyes Ramirez's debut poetry collection plays in spaces of both elegy and joy, and introduces a vibrant new talent.

Bernardo Wade’s A Love Tap—introduced by award-winning poet and essayist Ross Gay—reckons with complexities of racial identity, masculinity, recovery, and spirituality, revealing the narrative and psychic evolution of a poet who has found himself in the language.

Wade’s evocative debut swaggers through time, through family, through love, through the perseverance of growing up in the deep South as a Black son with a white mom. Illustrating the strangeness and cacophony of his native New Orleans, he divines sweet relief in small mercies—a rosary strung with Mardi Gras beads, a Sunday football game, Nigel Hall covering Frankie Beverly in Lafayette Square, bare feet in a stream, a mother kneading dough. In intimate, nuanced portraits of loved ones, in requiems and broken sestinas, he pushes past his trauma, troubling the years he spent in addiction or resenting his father.

As he maps out the parts he played in his life’s most formative moments, he can’t help but “retune the heart / strings of hard men,” teaching us how to become more human, often in the face of inhumanity. Here, he manages to land, not a crushing blow, but a love tap—the softest way to knuckle another’s cheek.

The politics and music of the sixties and early seventies have been the subject of scholarship for many years, but it is only very recently that attention has turned to the cultural production of African American poets. 

In "After Mecca," Cheryl Clarke explores the relationship between the Black Arts Movement and black women writers of the period. Poems by Gwendolyn Brooks, Ntozake Shange, Audre Lorde, Nikki Giovanni, Sonia Sanchez, Jayne Cortez, Alice Walker, and others chart the emergence of a new and distinct black poetry and its relationship to the black community's struggle for rights and liberation. Clarke also traces the contributions of these poets to the development of feminism and lesbian-feminism, and the legacy they left for others to build on. 

She argues that whether black women poets of the time were writing from within the movement or writing against it, virtually all were responding to it. Using the trope of "Mecca," she explores the ways in which these writers were turning away from white, western society to create a new literacy of blackness.
 

Provocatively written, this book is an important contribution to the fields of African American literary studies and feminist theory.

With previous work hailed by the New York Times as “unflinching” and “piercing”, Ashley M. Jones’s Lullaby for the Grieving is her most personal collection to date.

In her fourth poetry collection, Jones studies the multifaceted nature of grief: the personal grief of losing her father, and the political grief tied to Black Southern identity. How does one find a path through the deep sorrow of losing a parent? What wonders of Blackness have to be suppressed to make way for "progress"?

Journeying through landscapes of Alabama, the Middle Passage and Underground Railroad, interior spaces of loss and love, and her father’s garden, Jones constructs both an elegy for her father and a celebration of the sacred exuberance and audacity of life. Featuring poems from her tenure as Alabama’s first Black and youngest Poet Laureate, Lullaby for the Grieving finds calm in unimaginable storms and attempts to listen for the sounds of healing.