A selection of the exquisite, passionate verse of the Palestinian poet Najwan Darwish, superbly translated into English

Finalist for the 2025 PEN Award for Poetry in Translation • Finalist for the 2025 Derek Walcott Prize for Poetry • Winner of the 2024 Big Other Readers’ Choice Award • Shortlisted for the 2025 PEN Heaney Prize • Longlisted for the 2025 National Translation Award for Poetry, sponsored by American Literary Translators Association

“An unvarnished view of war and its repercussions: fear, dread, devastation, and exile.”―Elisabeth Egan, New York Times Book Review
 
Born in Jerusalem in 1978, Najwan Darwish is one of the most important poets of the Arabic-speaking world. This definitive collection, which draws from five volumes published in Arabic as well as new unpublished work, brings to English-language readers a sweeping trove of Darwish’s most powerful and urgent poetry of the last decade.
 
In spare lyric verse, Darwish testifies to the brutal and intimate traumas of war, the anguished fatigue of waking up each morning in an occupied land, and the immeasurable toll of the Israeli-Palestinian conflict. While anchored in the geography of Palestine, his poetry also explores the rich artistic inheritance of the Arabic-speaking world, moving between regions, landscapes, and eras, from the glories of medieval Granada to the rippling shores of contemporary Haifa. In dialogue with poets, philosophers, and seekers from many different traditions, Darwish’s verse pulses with spiritual longing and a sense of battered, disoriented wonder―a witness to both the atrocities we visit upon one another and the miracle that we are here at all.
 
No One Will Know You Tomorrow is a tribute to the indomitability of the human spirit: its sensitive attunement to beauty and its endurance in the face of unspeakable tragedy.

For fans of Oge Mora and Ezra Jack Keats comes a poetic and joyful tale about a young boy who runs errands with his grandfather in town, by critically acclaimed author, Gary R. Gray, Jr. (I’m From), and award-winning artist, Rahele Jomepour Bell.

“What are we doing today, Granddad?”
“How about a trip to town? Nan needs some things for dinner.”
“Let’s go!”
“How far to the market, Granddad?”
“No rush, son! We’re just spendin’ time.”

Upbeat lyricism and cheerful illustration bring to life this kid-friendly meditation on appreciating every moment—big or small—spent with the people you love.

From one of America's most cherished and celebrated poets, a landmark collection of Nikki Giovanni's early work from the transformational years of 1968-1998!

“Nikki Giovanni is one of our national treasures.”—Gloria Naylor

In celebration of the 250th anniversary of the United States, HarperCollins is proud to present this library of American classics drawn from our storied catalog. This timeless classic brings readers Nikki Giovanni's poems from her books Black Feeling Black Talk; Black Judgement; Re: Creation; My House; The Women and the Men; Cotton Candy on a Rainy Day; and Those Who Ride the Night Winds.

When Nikki Giovanni’s poems first emerged during the Black Arts Movement of the 1960s, she immediately took a place among the most celebrated and controversial artists of our time. More than 50 years later, Giovanni still stands as one of the most commanding, luminous voices to grace America’s political and poetic landscape.

Stirring, provocative, and resonant, these poems heralded the arrival of an indelible literary voice that resounds to this day.

“When Miss Brooks. . . writes out of her heart, out of her rich and living background, out of her very real talent, then she induces almost unbearable excitement.” — New York Times

In celebration of the 250th anniversary of the United States, HarperCollins is proud to present this library of American classics drawn from our storied catalog. 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.

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.

An incantation of strength and solace for persisting in twenty-first-century America

“History doesn’t repeat, it rhymes.” In his sweeping third collection, Charleston brings a poet’s ear for echo and rhythm to bear on American history and life after 2016. For Charleston, these rhymes cut two ways: the long tradition of American racism and fascism, and the steady pulse of Black persistence. The collection’s titular invocation frames each poem, at times an oratory to rally a crowd, in other moments a private prayer whispered as the speaker gathers himself to face another day. Charleston insists that should we cede memory of our national biography―whether to repression or indifference―we will witness the country’s dissolution into something unrecognizable to many, yet all too familiar to its most marginalized people. But with each reiteration and riff, he also invokes a tenuous hope―that if we summon an American history of Black resistance, we might still make a more perfect union.

A tender, searching collection that breaks open notions of faith to ask how a daughter, alienated from kin, can find love and a home in the world, from the award-winning author of If They Come for Us and When We Were Sisters

at the edge of an edge
is an edge. at that edge
is a cliff. beyond that cliff
is me.

Exiled from ancestral homelands, how can one find a place for themself in the world? In this stunning sophomore collection, the acclaimed poet Fatimah Asghar unweaves residual grief to reckon with their relationship to Allah, long-estranged but deeply loved kin, the landscape of their ancestors, and love itself.

In meditative poems, Daughter of the Mountains grapples with multiple facets of fulfillment, betrayal, love, loss, and longing, illustrating how place, lineage, and environment inform the practice of spirituality and vice versa. With wisps of humor, imagery that is as beautiful as it is startling, and powerfully disruptive formal invention, this is an intimately lyrical and explosive collection.

One of the New York Times Book Review's 100 Notable Books

WITH AN APPENDIX OF NEVER-BEFORE-PUBLISHED WORK

Fusing the personal and the political in high-voltage verse, Amiri Baraka was one of the preeminent literary innovators of the past century. This volume comprises the fullest spectrum of his rousing, revolutionary poems, from his first collection to unpublished pieces composed during his final years.

Throughout Baraka’s career as a prolific writer in several genres (also published under the name LeRoi Jones), he was vehemently outspoken against oppression of African American citizens, and he radically altered the discourse surrounding racial inequality. His legacy in world literature is matched by his widespread influence as an activist and cultural leader. Praised for its lyricism and introspection, his early poetry emerged from the Beat generation, while his later writing is marked by the Black Arts Movement's intensely rebellious fervor and subversive ideology. All along, his primary focus was on how to live and love in the present moment despite the enduring difficulties of human history.

When tensions veer between hope and despair, the ensuing fracture can swing like a scythe and cut a ragged seam between past and present. In One Wild Word Away, Geffrey Davis weaves a deft set of poems about illness, family, loss, and rebirth. The luxurious sonics and crisp descriptions in each line are haunted by grief and buoyed by love as the speaker confronts generational trauma and the potential loss of a loved one while in the process of raising his own son.

Every pre-ordered copy of Lift Every Voice will be signed.

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.

A poet watches the limbs of a eucalyptus tree get sawed off: the image persists, refracting and recurring across poems of art, language, selfhood, memory, and loss.

Joan Mitchell said, When I talk about love, I mean loving a tree. When I talk about love, I mean loving where a tree used to be.

Men assess the eucalyptus tree growing on the poet’s street; a crane arrives. The sound of a chainsaw rings in the air and branches begin to fall. This tree-cutting haunts the poet and becomes the locus from which the rest of the collection spirals. It refracts across works by artists such as Pablo Picasso, Joan Mitchell, and Hilma af Klint, whose painting series lends the collection its title and who becomes a model for engaging with the world. At the core of the collection, the long poem “Eureka” examines the violent 1885 expulsion of Chinese Americans from the eponymous California town. Roving, evocative, and intricate, Tree of Knowledge is rooted in Victoria Chang’s crystalline voice and generous, probing gaze, and by certain images ―trees, a hanging figure, a branch, fingertips, a briefcase―that resurface like apparitions.

Myth, the much-anticipated debut collection from the multi-talented Terese Mason Pierre, weaves between worlds (‘real’ and ‘imaginary’) unearthing the unsettling: our jaded and joyful relationships to land, ancestry, trauma, self, and future. In three movements and two interludes, the poems in Myth move symphonically from tropical islands to barren cities, from lucid dreams to the mysteries of reality, from the sea to the cosmos. A dynamic mix of speculative poetry and ecstatic lyricism, the otherworldly and the sublime, Pierre’s poems never stray too long or too far from the spell of unspoiled nature: “The palm trees nod / at the ocean / the ocean does / what it always does / trusts the moon completely.”

Friends ‘with benefits’ tour the wonders of Grenada’s landscapes; extraterrestrials visit the Caribbean and the locals don’t seem phased; red birds “saunter airily like tourists,” La Diablesse lures helpless suitors to their dooms. This collection asks: How can myths manifest themselves in our daily lives? What do we actually mean when we say we love ourselves and others? And how do we pursue/create futures that honour our truths, histories and legacies?

A new edition of the first book of poems from the Pulitzer Prize winner Carl Phillips, with a new afterword.

I am no mystic. I know
nothing rises that doesn’t
know how to already.
In my ears, only the clubbed
foot of routine, no voices, no

clatter of dreams: but I saw
what I saw

Even in his first book of poems, the deep contradictions in Carl Phillips’s work are already pronounced. Here is a subtle poet, attuned to the simple honesty of everyday speech, and yet steeped in classical allusion. Life here is quiet, yet burning with anger and unavoidable desire. Offering intimate statements of passion and yet retaining a private withholding, these poems take as their primary subject the body―growing, aging, loving―and spirit that fills the flesh.

When In the Blood was selected for the 1992 Morse Poetry Prize, Carl Phillips was a high-school Latin teacher. Thirty years later, he has written seventeen books of poetry, has received the Pulitzer Prize, and is one of the most prominent voices in contemporary poetry.

A gorgeously illustrated centennial of Langston Hughes' first book of poetry, The Weary Blues, this picture book includes select poems paired with vibrant artwork by more than twenty talented Black illustrators, including award-winners Oge Mora, Frank Morrison, Janelle Washington, and more!

Brought to new life by lively illustrations on every page, Melodies of The Weary Blues introduces Langston Hughes’ intimate reflections on the Black experience in America to young readers in a fresh and approachable way. Featuring poems like “Dream Variation,” “Winter Moon,” and “The Negro Speaks of Rivers”, Hughes’ still resonant words shine like never before for readers everywhere. 

Includes an introduction by the editor, Shamar Knight-Justice, Langston Hughes’ biography and timeline of life, and biographies of all the contributors.

Five female Afghan poets wield language to combat the loneliness, absurdity, and claustrophobia of life in a war-torn country and its diaspora. There are “hypnotic, long beards” tangled with mass extinctions; hateful men burning grapevines; black blindfolds; jinn in chadors; and condoms advertised every eight minutes on TV. Interspersing these are tender moments: one poet describes brushing her daughter’s hair, while another imagines a tree growing at the center of a room, undisturbed by the bombs outside. In the wake of the Taliban’s escalating war on Afghan women’s rights, Hair on Fire is a blazing tribute to a group of exceptional poetesses and a reminder of what we lose when voices are silenced.

In this companion to Bravo!, Margarita Engle's beautiful poetry introduces young readers to lesser-known Latinos from varied backgrounds who have all shown tremendous resilience.

Prepare to be inspired by this empowering collection of poetry that tells a larger story about fortitude and community across Hispanic history. From environmental activists such as Christina Figueres to record breaking athletes like Pelé, each role model featured is a legend in their own right. There’s no better time to champion the accomplishments of this remarkable group of unsung heroes from all across Latin America!

Those profiled in this collection include Anacaona, Martín de la Cruz and Juan Badiano, Sor Juana Inés de la Cruz, Micaela Bastidas Puyucahua, Simón Bolívar, Mariana Grajales Cuello, Ana Roqué de Duprey, Julio Garavito Armero, Ramón Fonst Segundo, Christiana Figueres, Juano Hernández, Gabriela Mistral, Martín Chambi de Coaza, Marina Núñez del Prado, Noé Canjura, Nicolás García Uriburu, Pelé, and Rigoberta Menchú Tum.

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.

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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”

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.

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.

A Guardian Best Book of the Year

Finalist for the T. S. Eliot Prize and The Costa Poetry Award

“Exquisite.” ―The New York Times Book Review

“Brave, tender and generous. . . . A haunting study of what we can find in the silences of history when history is recognized as more than a noun, when recognized as something alive and kinetic.” ―Camonghne Felix, author of Build Yourself a Boat

On the heels of his much-lauded debut collection, Raymond Antrobus continues his essential investigation into language, miscommunication, place, and memory in All The Names Given, while simultaneously breaking new ground in both form and content. 

The collection opens with poems about the author’s surname―one that shouldn’t have survived into modernity―and examines the rich and fraught history carried within it. As Antrobus outlines a childhood caught between intimacy and brutality, sound and silence, and conflicting racial and cultural identities, the poem becomes a space in which the poet reckons with his own ancestry, and bears witness to the indelible violence of the legacy wrought by colonialism. The poems travel through space―shifting fluidly between England, South Africa, Jamaica, and the American South―and brilliantly move from an examination of family history into the wandering lust of adolescence and finally, vividly, into a complex array of marriage poems―matured, wiser, and more accepting of love’s fragility. Throughout, All The Names Given is punctuated with [Caption Poems] partially inspired by Deaf sound artist Christine Sun Kim, in which the art of writing captions attempts to fill in the silences and transitions between the poems as well as moments inside and outside of them. 

Formally sophisticated, with a weighty perception and startling directness, All The Names Given is a timely, tender book full of humanity and remembrance from one of the most important young poets of our generation.

Featured on NPR's Morning Edition

A Best Book of the Year at The Guardian, The Sunday Times, Poetry School, New York Public Library, and Entropy Magazine

Winner of the Ted Hughes Award, Rathbones Folio Prize, and Somerset Maugham Award; finalist for the Griffin Poetry Prize and Reading the West Book Award

In the wake of his father’s death, the speaker in Raymond Antrobus’ The Perseverance travels to Barcelona. In Gaudi’s Cathedral, he meditates on the idea of silence and sound, wondering whether acoustics really can bring us closer to God. Receiving information through his hearing aid technology, he considers how deaf people are included in this idea. “Even though,” he says, “I have not heard / the golden decibel of angels, / I have been living in a noiseless / palace where the doorbell is pulsating / light and I am able to answer.”

The Perseverance is a collection of poems examining a d/Deaf experience alongside meditations on loss, grief, education, and language, both spoken and signed. It is a book about communication and connection, about cultural inheritance, about identity in a hearing world that takes everything for granted, about the dangers we may find (both individually and as a society) if we fail to understand each other.

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A poignant and rousing debut book of poetry from the former Youth Poet Laureate of Oakland, CA—the acclaimed, best-selling author of the novel Nightcrawling Leila Mottley follows her trailblazing first novel with a perfectly pitched first collection of poems that demonstrate her spark and scope. woke up no light reckons with themes of reparations, restitution, and desire. Moving in sections from “girlhood” to “neighborhood” to “falsehood” to, finally, “womanhood,” these poems are the breathing life of a Black girl as she grows into adulthood, simultaneously youthful and profound. Each poem is a searing vignette, capturing the dissonance of Black girlhood through visceral language. The collection is sharp and raw, wise and rhythmic, a combination that lights up each page. From unearthing histories to searching for ways to dream of a future in a world constantly on the brink of disaster, Mottley sets forth personal and political revelation with piercing detail. woke up no light confirms Leila Mottley’s arrival and demonstrates the enduring power of her voice—brave and distinctive and thoroughly her own.

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Mahmoud Darwish was the Palestinian national poet. One of the greatest poets of the last half century, his work evokes the loss of his homeland and is suffused with the pain of dispossession and exile. His poems display a brilliant acuity, a passion for and openness to the world and, above all, a deep and abiding humanity. Here, his close friends John Berger and Rema Hammami present a beautiful new translation of two of Darwish’s later works. Illustrated with original drawings by John Berger, Mural is a testimony to one of the most important and powerful poets of our age.

Loving the Dying is a collection of poems on life’s different stages. Set against the backdrop of a conflicted society, Len Verwey looks at a person’s life from youth and growing up to aging and dying, considering what the ineluctable reality of death might imply about how we should think about our lives.

These are poems of uncertainty rather than certainty. The more overtly biographical ones end with as many questions as they start with, and there is often sympathy for the outsider or the marginalized voice. Varying in tone and complexity, Verwey’s poems focus on the tension between escapism and reality, truth and delusion (for individuals and societies), and the need to face death if we are to care for the aged and learn to understand the process of dying.

As in his first poetry collection, In a Language That You Know, Verwey continues his effort to understand the successes and failures of the South African post-apartheid journey, with both humor and some despair.

Winner of the 2022 Stan and Tom Wick Poetry Prize

Fraternal Light: On Painting While Black is a lyric evocation of the life and work of the great African American artist Beauford Delaney. These poems pay homage to Delaney’s resilience and ingenuity in the face of profound adversity. Although his work never garnered the acclaim it deserves—and is finally receiving—Delaney was well known and highly respected in African American cultural circles, among bohemian writers and artists based in Greenwich Village from the 1930s to the early 1950s, and in Parisian avant-garde and expatriate enclaves from the mid-1950s to the mid-1970s.

Drawn to Delaney’s painting and personal history through her emotional response to his work, especially his portraits, Arlene Keizer has crafted a diasporic ceremony of remembrance for this Black, gay male visionary. Fraternal Light offers back an answering complexity to Delaney’s life and work. One form of art calls out; another answers.

Keizer’s poems make the contours and challenges of Delaney’s life visible, which is especially urgent in a world still frequently hostile or indifferent to Black creative brilliance.

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“When an author’s unmitigated brilliance shows up on every page, it’s tempting to skip a description and just say, Read this! Such is the case with this breathlessly powerful, deceptively breezy book of poetry.” —Booklist, Starred Review

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From the renowned Booker Prize–winning author, a powerful collection of poems covering topics of the day, such as the refugee crisis, Black Lives Matter protests, and COVID-19.

In our times of crisis
The mind has its powers
 
This book brings together many of Ben Okri’s most acclaimed and politically charged poems.
    “Grenfell Tower, June 2017” was published in the Financial Times less than ten days after the fire, and Okri’s reading of it was played more than six million times on Facebook.
    “Notre-Dame Is Telling Us Something” was first read on BBC Radio 4, in the aftermath of the cathedral’s near destruction. It speaks eloquently of the despair that was felt around the world.
    In “shaved head poem,” Okri writes of the confusion and anxiety felt as the world grappled with a health crisis unprecedented in our times.
    “Breathing the Light” is his response to the events of summer 2020, when a Black man died beneath the knee of a white policeman, a tragedy sparking a movement for change.
    These poems and others, including poems for Ken Saro-Wiwa, Barack Obama, Amnesty International, and more, make this a uniquely powerful collection that blends anger and tenderness with Okri’s inimitable vision.

Being queer and Asian American; families we are born into and ones we chose; nostalgia, trauma and history—all dissected fearlessly.