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.

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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).

A radical new vision of the nation's founding era and a major act of historical recovery 

Featuring more than 120 writers, this groundbreaking anthology reveals the astonishing richness and diversity of Black experience in the turbulent decades of the American Revolution

Black Writers of the Founding Era is the most comprehensive anthology ever published of Black writing from the turbulent decades surrounding the birth of the United States. An unprecedented archive of historical sources––including more than 200 poems, letters, sermons, newspaper advertisements, slave narratives, testimonies of faith and religious conversion, criminal confessions, court transcripts, travel accounts, private journals, wills, petitions for freedom, even dreams, by over 100 authors––it is a collection that reveals the surprising richness and diversity of Black experience in the new nation.

Here are writers both enslaved and free, loyalist and patriot, female and male, northern and southern; soldiers, seamen, and veterans; painters, poets, accountants, orators, scientists, community organizers, preachers, restaurateurs and cooks, hairdressers, criminals, carpenters, and many more. Along with long-famous works like Phillis Wheatley’s poems and Benjamin Banneker’s astonishing mathematical and scientific puzzles are dozens of first-person narratives offering little-known Black perspectives on the events of the times, like the Boston Massacre and the death of George Washington.

From their bold and eloquent contributions to public debates about the meanings of the revolution and the values of the new nation–– writings that dramatize the many ways in which protest, activism, and community organizing have been integral to the Black American experience from the beginning––to their intimate thoughts preserved in private diaries and letters, some unseen to the present day, the words of the many writers gathered here will indelibly alter our understandings of American history. 

A foreword by Annette Gordon-Reed and an introduction by James G. Basker, along with introductory headnotes and explanatory notes drawing on cutting edge scholarship, illuminate these writers’ works and to situate them in their historical contexts.

A 16-page color photo insert presents portraits of some of the writers included and images of the original manuscripts, broadside, and books in which their words have been preserved.

A long-overdue corrective to the history of rock ‘n’ roll and alternative music, repopulating it with the extraordinary Black artists and influential figures who steered its course, from an author, journalist, and front woman of the British post punk band Big Joanie.

The history of rock and roll and alternative music is often told in bold, sweeping, isolated moments that are removed from the context of their time. Upon closer inspection, however, it becomes clear that the stories we tell center primarily on the achievements of white men like Elvis Presley, The Ramones, Nirvana, and David Bowie. White men who were the stars, white men who supposedly changed the game, white men who seemingly were at the forefront of every musical innovation in the 20th and 21st centuries. These rock and roll retellings perpetuate the belief that white men were the most important people to wield a guitar, strut on stage, or pound out a pummeling drumbeat. What is missing in these stories is everything in between—the people, the places, and the scenes that connect the dots—and you can’t tell the history of any music scene, let alone alternative music, without the Black community.

From the genre's earliest moments, Black musicians—like gospel entertainer Sister Rosetta Tharpe in the 1930s-40s and rock and roll legend Chuck Berry in the 1950s—have consistently pushed musical boundaries that forever impacted the music that followed. Throughout the decades, numerous Black entertainers continued to add their take on rock and alternative genres, expanding and building on what was already there to create what we know as alternative music today: look no further than the electric fire of Jimi Hendrix’s guitar licks in the '60s, the kaleidoscopic melee of hardcore and reggae that was Bad Brains in the late '70s, and the funkadelic swagger of Living Colour in the '80s.

Despite their groundbreaking contributions, why have Black musicians been so neglected from the historical canon? Is alternative music still seen as a white genre, and how are Black musicians and fans making space for themselves in the music scenes they love? We Were Here tells the story of Black artists performing in alternative genres from punk to rock and roll, indie to new wave, alongside their Black fans. Through brand new interviews and meticulous research, Phillips documents the history of Black people’s influence on these genres, highlighting the key players, assessing the legacy of their work, and drawing attention to those who have been obscured from history.

Where rock magazines and music books previously omitted or misunderstood the stories of Black artists and fans, this book centers their voices and attempts to right the wrongs of the past. Along the way, Phillips infuses her own coming-of-age story as a Black female musician in the punk scene, alongside a cultural analysis of rock and alternative music history.

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.

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From one of the world’s foremost experts on the subject, a powerful argument that the greatest damage from drugs flows from their being illegal, and a hopeful reckoning with the possibility of their use as part of a responsible and happy life

Dr. Carl L. Hart, Ziff Professor at Columbia University and former chair of the Department of Psychology, is one of the world’s preeminent experts on the effects of so-called recreational drugs on the human mind and body. Dr. Hart is open about the fact that he uses drugs himself, in a happy balance with the rest of his full and productive life as a colleague, husband, father, and friend. In Drug Use for Grown-Ups, he draws on decades of research and his own personal experience to argue definitively that the criminalization and demonization of drug use—not drugs themselves—have been a tremendous scourge on America, not least in reinforcing this country’s enduring structural racism.

Dr. Hart did not always have this view. He came of age in one of Miami’s most troubled neighborhoods at a time when many ills were being laid at the door of crack cocaine. His initial work as a researcher was aimed at proving that drug use caused bad outcomes. But one problem kept cropping up: the evidence from his research did not support his hypothesis. From inside the massively well-funded research arm of the American war on drugs, he saw how the facts did not support the ideology. The truth was dismissed and distorted in order to keep fear and outrage stoked, the funds rolling in, and black and brown bodies behind bars.

Drug Use for Grown-Ups will be controversial, to be sure: the propaganda war, Dr. Hart argues, has been tremendously effective. Imagine if the only subject of any discussion about driving automobiles was fatal car crashes. Drug Use for Grown-Ups offers a radically different vision: when used responsibly, drugs can enrich and enhance our lives. We have a long way to go, but the vital conversation this book will generate is an extraordinarily important step.

Black Nature is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated.

Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry―anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild.

Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements.

Black Nature brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole.

A Friends Fund Publication.

From his childhood in the Jim Crow South to his triumphant reign as the King of Blues, Blues Boy tells the aspirational story of American music icon B.B. King. For readers of Trombone Shorty, When Marian Sang, and Drum Dream Girl. Includes a timeline, author’s note, and suggestions for reading and listening.

At twelve years old, Riley B. King borrowed fifteen dollars from his boss to buy a used guitar. Before long, he was playing his music for jubilant crowds all over the world. Blues Boy chronicles B. B. King’s inspiring journey from his childhood in the Jim Crow South to global stardom. It is a compelling biography about the widely known and celebrated American music figure as well as a beautifully illustrated picture book with themes of family, community, history, kindness, empathy, and justice.

Acclaimed author Alice Faye Duncan makes B.B. King’s story both accessible and inspiring for young readers. The text is sometimes uplifting and sometimes heart-wrenching, but always carries emotional depth, much like the music it celebrates. Illustrator and visual artist Carl Joe Williams provides artwork that is rich and distinctive, bringing B.B. King’s story to life on every page. Blues Boy will find a place on the shelf with books like Trombone Shorty and Radiant Child. Includes backmatter.