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.

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.

*ship in 7-10 business days

Award-winning author, screenwriter, and editor Gary Phillips gathers his most thrilling, outlandish, and madcap pulp fiction in an 17-story collection that straddles the line between bizarro, science fiction, noir, and superhero classics.

Aztec vampires, astral projecting killers, oxygen stealing bombs, undercover space rangers, aliens occupying Los Angeles, right wing specters haunting the ’hood, masked vigilantes, and mad scientists in their underground lairs plotting world domination populate the stories in this rip-snorting collection. In these pages grindhouse melds with blaxploitation along with strong doses of B movie hardcore drive-in fare.

Phillips, editor of the Anthony Award-winning The Obama Inheritance: Fifteen Stories of Conspiracy Noir, and author of One-Shot Harry and Matthew Henson and the Ice Temple of Harlem, said this about pulp. “The most common definition of pulp is it’s fast-paced, a story containing out there characters and a wild plot. There is that. But certainly, as we’ve now arrived at the era of retro-pulp, these stories have elements of characterization: not just action, but a glimpse behind the steely eyes of these doers of incredible deeds.” As an added bonus, Phillips resurrects Phantasmo, a Golden Age comics character created by Black artist-writer E.C. Stoner in an all-new outing of ethereal doings (includes 4 original illustrations by cover artist Adam Shaw).

The autobiography of the godfather of urban streetwear, American fashion designer and hip-hop cultural icon, Karl Kani whose clothes were worn by everyone from Michael Jackson to Tupac, Aaliyah to Biggie, and Nas to Jay-Z.

Karl Kani tells the story of how Karl Kani created the first quintessential fashion brand of the hip-hop generation. Like the genre that became a soundtrack to the clothes Kani designed, Karl’s brand went from local mom and pop stores in Brooklyn to national recognition and international renown.

Following Kani’s ascension as a Costa Rican immigrant striving to make a name for himself, Karl Kani also tracks parallels between how the fashion, like the music of Black and Brown kids living in the inner cities, went from marginalized subculture to the mainstream. And while there is always a price for gaining mainstream recognition and the material success that invariably follows, there’s an even heftier expense for those who refuse to compromise one’s own brand and principles to gain that entry.

Once hip-hop became a billion-dollar industry and one of America’s most lauded and coveted cultural exports, many of the fashion brands that would’ve never approached rap artists before began granting access to the upper echelons of luxury fashion. As a result, many of hip-hop’s flagship brands cashed in big payouts—Rocawear, Sean John, FUBU, Mecca, Enyce, Phat Farm, G-Unit. Karl Kani was one of the few, if not only, designers who saw that his name, the culture it represented, and the business he built was worth keeping.

Karl Kani is both a cautionary tale and an inspirational one about the price to keep one’s name in an industry looking to cash out, and how Kani continues to find an international audience for his clothes as he’s being pushed out of the American market in favor of European brands that illustrate the shift in the fashion world. Karl Kani refused to sell out, paid a price for ownership, and weathered to storm to be one of the few legacy hip-hop clothing brands to have contemporary cultural relevance.

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.

Join us to commemorate Phillip B. Williams's first novel, Ours: A Novel!

EVENT DEETS

When: Sunday, October 27 @ 3PM CST

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

How: RSVP ONLY to reserve you seat (and bring your own copy) or RSVP WITH BOOK to reserve your copy. 

If you are student or in financial need, please reach out to inquire about a free ticket.

ABOUT THE BOOK

In this ingenious, sweeping novel, Phillip B. Williams introduces us to an enigmatic woman named Saint, a fearsome conjuror who, in the 1830s, annihilates plantations all over Arkansas to rescue the people enslaved there. She brings those she has freed to a haven of her own creation: a town just north of St. Louis, magically concealed from outsiders, named Ours.

It is in this miraculous place that Saint’s grand experiment—a truly secluded community where her people may flourish—takes root. But although Saint does her best to protect the inhabitants of Ours, over time, her conjuring and memories begin to betray her, leaving the town vulnerable to intrusions by newcomers with powers of their own. As the cracks in Saint’s creation are exposed, some begin to wonder whether the community’s safety might be yet another form of bondage.

Set over the course of four decades and steeped in a rich tradition of American literature informed by Black surrealism, mythology, and spirituality, Ours is a stunning exploration of the possibilities and limitations of love and freedom by a writer of capacious vision and talent.

ABOUT THE AUTHOR

Phillip B. Williams is from Chicago, Illinois, and is the author of two collections of poetry: Thief in the Interior, which was the winner of the Kate Tufts Discovery Award and a Lambda Literary Award, and Mutiny, which was a finalist for the PEN/Voelcker Award for Poetry Collection and the winner of a 2022 American Book Award. Williams is also the recipient of a Whiting Award and fellowships from the Radcliffe Institute for Advanced Study at Harvard University and the National Endowment for the Arts. He currently teaches in the MFA in creative writing program at New York University and the Randolph College low-residency MFA.

ABOUT THE CONVERSATION PARTNER

Kiese Laymon is a Black southern writer from Jackson, Mississippi. Laymon is the Libbie Shearn Moody Professor of English and Creative Writing at Rice University. Laymon is the author of Long Division, which won the 2022 NAACP Image Award for fiction, and the essay collection, How to Slowly Kill Yourself and Others in America, named a notable book of 2021 by the New York Times critics. Laymon’s bestselling memoir, Heavy: An American Memoir, won the Andrew Carnegie Medal for Excellence in Nonfiction, the Christopher Isherwood Prize for Autobiographical Prose, the Barnes and Noble Discovery Award, the Austen Riggs Erikson Prize for Excellence in Mental Health Media, and was named one of the 50 Best Memoirs of the Past 50 Years by The New York Times. The audiobook, read by the author, was named the Audible 2018 Audiobook of the Year. Laymon is the recipient of 2020-2021 Radcliffe Fellowship at Harvard. Laymon is at work on the books, Good God, and City Summer, Country Summer, and a number of other film and television projects. He is the founder of “The Catherine Coleman Literary Arts and Justice Initiative,” a program based out of the Margaret Walker Center at Jackson State University, aimed at aiding young people in Jackson get more comfortable reading, writing, revising and sharing on their on their own terms, in their own communities. Kiese Laymon was awarded a MacArthur Fellowship in 2022.

In Left of Karl Marx, Carole Boyce Davies assesses the activism, writing, and legacy of Claudia Jones (1915–1964), a pioneering Afro-Caribbean radical intellectual, dedicated communist, and feminist. Jones is buried in London’s Highgate Cemetery, to the left of Karl Marx—a location that Boyce Davies finds fitting given how Jones expanded Marxism-Leninism to incorporate gender and race in her political critique and activism.

Claudia Cumberbatch Jones was born in Trinidad. In 1924, she moved to New York, where she lived for the next thirty years. She was active in the Communist Party from her early twenties onward. A talented writer and speaker, she traveled throughout the United States lecturing and organizing. In the early 1950s, she wrote a well-known column, “Half the World,” for the Daily Worker. As the U.S. government intensified its efforts to prosecute communists, Jones was arrested several times. She served nearly a year in a U.S. prison before being deported and given asylum by Great Britain in 1955. There she founded The West Indian Gazette and Afro-Asian Caribbean News and the Caribbean Carnival, an annual London festival that continues today as the Notting Hill Carnival. Boyce Davies examines Jones’s thought and journalism, her political and community organizing, and poetry that the activist wrote while she was imprisoned. Looking at the contents of the FBI file on Jones, Boyce Davies contrasts Jones’s own narration of her life with the federal government’s. Left of Karl Marx establishes Jones as a significant figure within Caribbean intellectual traditions, black U.S. feminism, and the history of communism.

In Foremother Love, Dana Murphy examines the importance of eighteenth-century poet Phillis Wheatley as a foundational figure for Black feminist criticism. Murphy establishes Phillis (as she refers to her) as a writer who wrote in response to and in conversation with other creators as well as a critic who was invested in sharing, explaining, and evaluating her own and others’ work and contexts. Indeed, Phillis played a key role in the development of what Murphy calls “foremother love”—the Black feminist depiction of the love of an unrelated feminist ancestor as a legitimate relation for the practice of inheritance, mourning, liberation, and friendship. Drawing on the work of Barbara Christian, June Jordan, Audre Lorde, Barbara Smith, and others, Murphy shows that Black feminist criticism becomes a transhistorical theorization when read in conjunction with Phillis’s labor and vision. Revealing how Phillis lives on in Black feminist criticism, Murphy contends that foremother love is an ethic of critical care that implores readers to recognize the affective labor of all those working in the field.