PRE-ORDER: ON SALE DATE: September 9, 2025

A liberatory anthology of twenty-six writers—a community in book form—charting paths ahead for action and care in the face of political uncertainty, curated by Maggie Smith and Saeed Jones.

Inspired by Saeed Jones and Maggie Smith’s conversations in the wake of the 2024 election, this is a collection of poems, essays, and visual art on what we—individually and collectively—can hold onto, and what we can work towards.

In times of difficulty, with a government working against its own people, we must turn to our friends and loved ones to provide context, language, energy, and hope. The People’s Project offers a range of perspectives, drawing wisdom from their communities and histories: from know-your-place aggression to crip time as a way forward, from finding strength in nature to how trans people provide a guide for the future, and how hope has everything to do with survival.

We hope these meditations and strategies will provide you with inspiration and fortitude for the years ahead.

Featuring original and selected work from Alexander Chee, Chase Strangio, Tiana Clark, Hala Alyan, Aubrey Hirsch, Imani Perry, Abi Maxwell, Victoria Chang, Koritha Mitchell, Jason Silverstein, Alice Wong, Mira Jacob, Aruni Kashyap, Sam Sax, Ashley C. Ford, Marlon James, Eula Biss, Randall Mann, Danez Smith, Ada Limon, Kiese Laymon, Joy Harjo, Jill Damatac, and Patricia Smith.

PRE-ORDER: ON SALE DATE: September 30, 2025

“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.

Here are over 800 haiku by Richard Wright, one of the early forceful and eloquent spokesmen for black Americans, author of the acclaimed Native Son and Black Boy.

Wright discovered the haiku in the last eighteen months of life. He attempted to capture, through his sensibility as an African-American, the elusive Zen discipline and beauty in depicting man’s relationship, not only to his fellow man as he had in the raw and forceful prose of his fiction, but to the natural world. In all, he wrote over 4,000 haiku.

Here are the 817 he personally chose; Wright’s haiku, disciplined and steeped in beauty, display a universality that transcends both race and color without ever denying them. Wright wrote his haiku obsessively—in bed, in cafes, in restaurants, in both Paris and the French countryside. They offered him a new form of expression and a new vision: with the threat of death constantly before him, he found in them inspiration, beauty, and insights.

Fighting illness and frequently bedridden, deeply upset by the recent loss of his mother, Ella, Wright continued, as his daughter notes in her introduction, “to spin these poems of light out of the gathering darkness.”

A finalist for the 2015 National Book Award and the National Book Critics Circle Award

In How to Be Drawn, his daring fifth collection, Terrance Hayes explores how we see and are seen. While many of these poems bear the clearest imprint yet of Hayes’s background as a visual artist, they do not strive to describe art so much as inhabit it. Thus, one poem contemplates the principle of blind contour drawing while others are inspired by maps, graphs, and assorted artists. The formal and emotional versatilities that distinguish Hayes’s award-winning poetry are unified by existential focus. Simultaneously complex and transparent, urgent and composed, How to Be Drawn is a mesmerizing achievement.

In his debut collection Fantasia for the Man in Blue, Tommye Blount orchestrates a chorus of distinct, unforgettable voices that speak to the experience of the black, queer body as a site of desire and violence. A black man’s late-night encounter with a police officer—the titular “man in blue”—becomes an extended meditation on a dangerous erotic fantasy. The late Luther Vandross, resurrected here in a suite of poems, addresses the contradiction between his public persona and a life spent largely in the closet: “It’s a calling, this hunger / to sing for a love I’m too ashamed to want for myself.” In “Aaron McKinney Cleans His Magnum,” the convicted killer imagines the barrel of the gun he used to bludgeon Matthew Shepard as an “infant’s small mouth” as well as the “sad calculator” that was “built to subtract from and divide a town.” In these and other poems, Blount viscerally captures the experience of the “other” and locates us squarely within these personae.

With 200,000 copies in print, this anthology has for decades been seen as a fundamental collection of African-American verse. Bontemps (1902-73), an important figure during and after the Harlem Renaissance, author of more than 25 novels, and longtime librarian at Fisk University, last revised this classic anthology just before his death, adding such crucial new voices as Audre Lorde, Nikki Giovanni, and Bob Kaufman, among others.

This edition, issued in 1996, reprints the poems in Bontemps's revised volume along with updated biographical notes. Nearly seventy poets are represented, their works indexed by both author and title.

"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.

New and selected poems from the great Pulitzer Prize–winning poet

These songs run along dirt roads
& highways, crisscross lonely seas
& scale mountains, traverse skies
& underworlds of neon honkytonk,
Wherever blues dare to travel.

Everyday Mojo Songs of Earth brings together selected poems from the past twenty years of Yusef Komunyakaa’s work, as well as new poems from the Pulitzer Prize winner. Komunyakaa’s masterful, concise verse conjures arresting images of peace and war, the natural power of the earth and of love, his childhood in the American South and his service in Vietnam, the ugly violence of racism in America, and the meaning of power and morality.

The new poems in this collection add a new refrain to the jazz-inflected rhythms of one of our “most significant and individual voices” (David Wojahn, Poetry). Komunyakaa writes of a young man fashioning a slingshot, workers who “honor the Earth by opening shine / inside the soil,” and the sounds of a saxophone filling a dim lounge in New Jersey. As April Bernard wrote in The New York Times Book Review, “He refuses to be trivial; and he even dares beauty.”

"Probably my favorite living poet. No one else taught me more about how important it was to think about how words make people feel. It's not enough for people to know something is true. They have to feel it's true." ―Ta-Nehisi Coates, The New York Times Style Magazine

Winner of the Cave Canem Poetry Prize, selected by Major Jackson

The stub of your left leg dangles
as I hold you up, my hands inserted under your arms
like a child. You are complaining about the itch,
the burn; scratch the ghost of your calf and heel.
―from "Scratching the Ghost"

Dexter L. Booth's ruminations on loss in this award-winning debut are rooted in a time past but one still palpable and persistent. Here are memories of love lost, family mourned, a father absent, ghosts of hometowns and childhood. Here too is a "Short Letter to the Twentieth Century" and, finally, a "Long Letter to the Twentieth Century," as if across this collection the poet is mustering up the force to speak back to history.

"In Dexter Booth's Scratching the Ghost, a cracked egg means the universe is splitting, the slap of a double-dutch rope is a broken-throated hymn, and splitting a squealing hog is akin to lovemaking. These are poems loyal to their own intrepid logic and reckless plausibility. Yet, lest the reader get too giddy in a fun house of mirrors, here, too, are the melodic laments and remarkable lyric passages of a poet who acknowledges the infinite current of melancholy that underlines his journey." ―Major Jackson

A National Book Critics Circle Poetry Award Winner!

From the breakout author of There Are More Beautiful Things Than Beyoncé comes a profound and deceptively funny exploration of Black American womanhood.

"Morgan Parker's latest collection is a riveting testimony to everyday blackness . . . It is wry and atmospheric, an epic work of aural pleasures and personifications that demands to be read―both as an account of a private life and as searing political protest." ―TIME Magazine

A Best Book of 2019 at TIME, Elle, BuzzFeed, the Star Tribune, AVClub, and more.

A Most Anticipated Book of 2019 at Vogue, O: the Oprah Magazine, NYLON, BuzzFeed,Publishers Weekly, and more.

Magical Negro is an archive of black everydayness, a catalog of contemporary folk heroes, an ethnography of ancestral grief, and an inventory of figureheads, idioms, and customs. These American poems are both elegy and jive, joke and declaration, songs of congregation and self-conception. They connect themes of loneliness, displacement, grief, ancestral trauma, and objectification, while exploring and troubling tropes and stereotypes of Black Americans. Focused primarily on depictions of black womanhood alongside personal narratives, the collection tackles interior and exterior politics―of both the body and society, of both the individual and the collective experience. In Magical Negro, Parker creates a space of witness, of airing grievances, of pointing out patterns. In these poems are living documents, pleas, latent traumas, inside jokes, and unspoken anxieties situated as firmly in the past as in the present―timeless black melancholies and triumphs.

A radical, urgent collection of poems about Blackness, the self, and the dismantling of corrupt powers in the fight for freedom.

A PEN America Literary Award Winner

Jonah Mixon-Webster works at the intersections of space and the body, race and region, sexuality and class. Stereo(TYPE), his debut collection of poetry, is a reckoning and a force, a revision of our most sacred mythologies, and a work of documentary reporting from Mixon-Webster’s hometown of Flint, Michigan, where clean tap water remains an uncertainty and the aftermath of racist policies persist.

Challenging stereotypes through scenes that scatter with satire, violence, and the extreme vagaries of everyday life, Mixon-Webster invents visual/sonic forms, conceptualizes poems as transcripts and frequently asked questions, and dives into dreamscapes and modern tragedies, deconstructing the very foundations America is built on. Interrogating language and the ways we wield it as both sword and shield, Stereo(TYPE) is a one-of-a-kind, rapturous collection of vital and beautiful poems.

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

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.

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UpSet Press has restored to print Suheir Hammad's first book of poems, Born Palestinian, Born Black, originally published by Harlem River Press in 1996. The new edition is augmented with a new author's preface, and new poems, under the heading, The Gaza Suite, as well as a new publisher's note by Zohra Saed, an introduction by Marco Villalobos, and an afterword by Kazim Ali.

Doggerel is a revelatory meditation on Blackness, masculinity, and vulnerability from one of poetry’s boldest voices.

Reginald Dwayne Betts is our foremost chronicler of the ways prison shapes and transforms American life. In Doggerel, Betts examines this subject through a more prosaic―but equally rich―lens: dogs. He reminds us that, as our lives are broken and put back together, the only witness often barks instead of talks. In these poems, which touch on companionship in its many forms, Betts seamlessly and skillfully deploys the pantoum, ghazal, and canzone, in conversation with artists such as Freddie Gibbs and Lil Wayne.

Simultaneously philosophical and playful, Doggerel is a meditation on family, falling in love, friendship, and those who accompany us on our walk through life. Balancing political critique with personal experience, Betts once again shows us “how poems can be enlisted to radically disrupt narrative” (Dan Chiasson, The New Yorker)―and, in doing so, reveals the world anew.

“. . . every story becomes a multiplication,

If the naming is filled less with names than

With the best parts, the barking & everything

Else, because who among us hasn’t been

As mangy as a rescue, even on our best

Days, desiring mostly to be loved.”

―from “Rings”

A powerfully moving debut poetry collection about the violence of colonialist occupation

One more rock thrown onto the pile to tumble the mountain on my chest

 ―Hasib Hourani

Hasib Hourani’s rock flight is a book-length poem that, over seven chapters, follows a single personal and historical narrative centered on the violent occupation of Palestine. The poem uses refrains of suffocation, rubble, and migratory bird patterns to address the realities of forced displacement, economic restrictions, and surveillance technology that Palestinians face both within Palestine and across the diaspora. Searing and fierce, tender and pleading, rock flight invites the reader to embark on an exploration of space while limited by the box-like confines of the page. Through the whole, Hourani moves between poetry and prose, historical events and meditations on language, Fluxus-like instructions and interactions with friends, strangers, and family.

As incantatory and stirring as Inger Christensen’s alphabet or Raúl Zurita’s Inri, rock flight adapts themes of displacement and refusal into an interactive reading experience where the book becomes an object in flux.

The Bronx born activist and poet Roya Marsh returns with a riveting exploration of Black joy, collective action, and healing.

what will come of what you leave behind?
do you
remember that time
you survived?

The poems in Roya Marsh’s second collection, savings time, wear their raw feeling and revolutionary forcefulness on their sleeves. Alternating between confrontation and celebration, Marsh trains her unsparing eye on the twinned subjects of Black rage and Black healing with practiced, musical intention.

In poems flitting between breathless prose and measured lyricism, Marsh contemplates the contradictions and challenges of Black life in America, tackling everything from police brutality and urban gentrification to queer identity, presidential elections, and pop culture, all while calling for a world where self-care, especially for Black women, is not just encouraged but mandated. “no one told the Black girl,” she writes, “‘see you later’ was a prayer / begging us survive our own erasure.”

As unforgettable on the page as when recited in Marsh’s legendary spoken-word performances, the poems in savings time are focused on both revolution and self-love, at once holding society accountable for its exploitation of Black life and honoring the joy of persisting nonetheless.

Shane McCrae, “peer to the peerless” (New York Journal of Books), takes up and turns on its head the mantle of Dante in this contemporary vision of Hell.

Of death the muse is death the muse of Hell
Is death the muse of Heaven I don’t know
O muse of where howcan I hope to go
To where I pray I’ll go sing at least tell

Shane McCrae, one of the most prophetic and powerful poetic voices of our time, has created a twenty-first-century epic in New and Collected Hell. As David Woo wrote in Poetry, “McCrae’s poems allude to literary precursors like Dante, Milton, and the Bible, but the voice is unabashedly of our time . . . By seeking to heal the rift in his own identity, McCrae has listened intently to the literary echoes emanating from the English language and transmuted them through his own dynamic voice.” Here, he gathers new and previous work as a culmination of his long-standing poetic project: a new and unforgettable journey through Hell. McCrae’s work is indelible, and this collection brings his searing vision to new depths.

A wide-ranging collection from a rising poet that showcases her sharp, contemporary voice

In Stem, Stella Wong intersperses lyric poems on a variety of subjects with dramatic monologues that imagine the perspectives of specific female composers, musicians, and visual artists, including Johanna Beyer, Mira Calix, Clara Rockmore, Maryanne Amacher, and Delia Derbyshire. In such lines as “let me tell you how I make myself appear / more likeable,” “as I grow older I like looking at chaos,” and “I want to propose a hike / and also propose mostly,” Wong’s style is confident and idiomatic, and by turns contemplative and carefree. Whether writing about family, intimate relationships, language, or women’s experience, Wong creates a world alive with observation and provocation, capturing the essence and the problems of life with others.

From U.S. Poet Laureate Ada Limón and Caldecott Honoree Peter Sís: a transcendent picture book featuring the poem that will travel into space aboard NASA’s Europa Clipper.

As part of her tenure as U.S. poet laureate, Ada Limón has written “In Praise of Mystery,” which will be engraved on the Europa Clipper spacecraft that launches to Jupiter and its moons in October 2024. Published here as Limón’s debut picture book, this luminous poem is illustrated by celebrated and internationally renowned artist Peter Sís.

In Praise of Mystery celebrates humankind’s endless curiosity, asks us what it means to explore beyond our known world, and shows how the unknown can reflect us back to ourselves.

color artwork throughout

This long-awaited and much-needed volume shines new light on one of America’s most beloved, and profound, poets—Lucille Clifton.

Black Buffalo Woman is a deep, comprehensive dive into Clifton’s work through the eyes of celebrated poet and scholar, Kazim Ali. 

Collecting chapters of Clifton’s early manuscripts, late drafts, and integrating her books of children’s literature, Ali’s meticulously researched volume provides a brilliant and fresh perspective on Clifton’s life and work.

Various chapters examine Clifton’s treatment of the body as a site of both joy and danger, spirituality, and an interrogation of American history, politics, and popular culture. The result of Ali’s scholarship and care highlights a dazzling array of Clifton’s poetic techniques and forms that will continue to inspire poets, readers, and Lucille Clifton fans—past, present and future—for decades to come.

Black history, cultural expression, and the natural world fuse in Janice N. Harrington’s Yard Show to investigate how Black Americans have shaped a sense of belonging and place within the Midwestern United States. As seen through the documentation of objects found within yard shows, this collection of descriptive, lyrical, and experimental poems speaks to the Black American Imagination in all its multiplicity.

Harrington’s speaker is a chronicler of yesterdays, using the events of the past to center and advocate for a future that celebrates pleasure and self-fulfillment within Black communities.

Cold Thief Place speaks of the experiences of an undocumented American, her parents who fled Communist China and found safety in fundamentalist Christianity, and how she tried to understand them and herself by way of confessional poems.

This is a family story. It tells of a mother who fled an authoritarian government and turned that authoritarianism on to her children. Of a father who made a new life—three times on three different continents—and his sea voyage in between. Or what a daughter imagines of these events, as much as it's possible to truly know one's parents. The narrator, who is their daughter, grew up in difficult but very different circumstances, too: undocumented in the United States and was pressured into a greencard marriage in order to live a "normal life." One of the myths of America is that Americans are newly formed, defiant of authority, and free from old-world traditions.

This book speaks to dark side of this myth: of the legacies that my parents wished to escape but instead carried with them: their distrust of government and their desire for an authoritarianism similar to the kind they had fled. Individually, the poems attempt to understand the emotions surrounding these impulses, from the point-of-view of their daughter, who is herself displaced as an undocumented American—that is, a person who is not permitted to be American, and without a home country to return to.

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.

“Breezes blowin’ middlin’ brisk, / Snowflakes thro’ the air a-whisk, / Fallin’ kind o’ soft an’ light, /Not enough to make things white, / But jest sorter siftin’ down / So ’s to cover up the brown /Of the dark world’s rugged ways / ’N’ make things look like holidays. /Not smoothed over, but jest specked, / Sorter strainin’ fur effect, / An’ not quite a-gittin’ through / What it started in to do. / Mercy sakes! It does seem queer / Christmas day is ’most nigh here. / Somehow it don’t seem to me /Christmas like it used to be,― / Christmas with its ice an’ snow, / Christmas of the long ago.”

Once praised by Frederick Douglass as “the most promising young colored man in America,” Paul Laurence Dunbar was an exceptionally gifted poet who helped lay the foundation of African American literature and was the first African American poet to achieve major success across the color line. Published posthumously nearly ten years after his untimely death, Speakin’ O’ Christmas and Other Christmas Poems, collects over a dozen of his most festive, holiday-themed verses into a single volume, including, “Chrismus is A-Comin’,” “Soliloquy of a Turkey,” “Christmas in the Heart,” and the titular, “Speakin’ O’ Christmas.”

Celebrating both the spirit of the holiday season and the talent of the “Negro dialect” poet, Paul Laurence Dunbar, Speakin’ O’ Christmas and Other Poems is a delightful collection of poetry for readers of all ages.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

A lush tapestry of poetry and prose, Here to Stay is an invitation to engage with a new field of contemporary American poetry.

"I cannot separate my work from my undocumented identity." --Aline Mello

From the indomitable writers and activists Janine Joseph, Esther Lin, and Marcelo Hernandez Castillo comes an anthology gathering some of the best work from currently and formerly undocumented poets, as well as poets from mixed status families from across the undocumented diaspora in America. Here to Stay is a collection of honest, searing, and evocative poems interspersed with short personal narratives. Deeply intimate, these works explore how to exist in the space between the familiar and the unknown, between the safety of silence and the desire to share. Highlighting the significant insights of undocumented poets, this brilliant compendium challenges misconceptions of what it means to live and write as an undocumented person in modern America.

Beautiful, poignant, and timely, this must-read collection is a rich and essential new chapter in the ongoing story of the eclectic immigrant experience and the United States itself.

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How can we make the world a better place?

This inspiring resource for middle-grade readers is organized as a dictionary; each entry presents a word related to creating a better world, such as ally, empathy, or respect. For each word, there is a poem, a quote from an inspiring person, a personal anecdote from the authors, and a "try it" prompt for an activity.

This second poetic collaboration from Irene Latham and Charles Waters builds upon themes of diversity and inclusiveness from their previous book Can I Touch Your Hair? Poems of Race, Mistakes, and Friendship. Illustrations from Iranian-British artist Mehrdokht Amini offer readers a rich visual experience.

"Latham and Waters's personal stories are plainspoken and relatable . . . and the suggested actions, accessible. . . The approach creates multiple pathways for engagement. Extensive supplementary materials include an index of poetic forms."―starred, Publishers Weekly

The concluding volume in a poetic trilogy, Alexis Pauline Gumbs's Dub: Finding Ceremony takes inspiration from theorist Sylvia Wynter, dub poetry, and ocean life to offer a catalog of possible methods for remembering, healing, listening, and living otherwise. In these prose poems, Gumbs channels the voices of her ancestors, including whales, coral, and oceanic bacteria, to tell stories of diaspora, indigeneity, migration, blackness, genius, mothering, grief, and harm. Tracing the origins of colonialism, genocide, and slavery as they converge in Black feminist practice, Gumbs explores the potential for the poetic and narrative undoing of the knowledge that underpins the concept of Western humanity. Throughout, she reminds us that dominant modes of being human and the oppression those modes create can be challenged, and that it is possible to make ourselves and our planet anew.

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.

From Cornelius Eady, one of America's most engaging voices, comes an exciting collection of poetry that at once delineates the arc of the poet's universe and highlights the range of his considerable talents.

Cornelius Eady’s poems show him in full control of his considerable talents and displaying a rich maturity as he enters midlife. His poems are sly, unsentimental, and witty, full of truths that are intimate and profound.

Hardheaded Weather ranges widely, reflecting the new found responsibilities Eady has assumed as he transitions from urban renter to nonplussed rural homeowner, as well as the sobering influence of war and the intimation of his own mortality. Yet even at his angriest, the poet has always had a depth of compassion rare in our polarized age, with a sense of humor that is both sophisticated and demotic. These poems will resonate deeply.

As exciting as the new poems are, his selected earlier poems dazzle, too, as they demonstrate the arc of Cornelius Eady’s maturation and the originality of his voice. Taken together, Hardheaded Weather forms a moving—and sometimes searing—testament to the power of poetry.