Staff Picks

Winner, 2015 National Book Critics Circle Award, poetry category
Winner, 2016 Kingsley Tufts Poetry Prize
Finalist, 2015 National Book Award, poetry category
Finalist, 2015 NAACP Image Awards, poetry category

Catalog of Unabashed Gratitude is a sustained meditation on that which goes away—loved ones, the seasons, the earth as we know it—that tries to find solace in the processes of the garden and the orchard. That is, this is a book that studies the wisdom of the garden and orchard, those places where all—death, sorrow, loss—is converted into what might, with patience, nourish us.

Sara Daniele Rivera’s award-winning debut is a collection of sprawling elegy in the face of catastrophic grief, both personal and public. From the lead-up to the 2016 presidential election through the COVID-19 pandemic, these poems memorialize lost loved ones and meditate on the not-yet gone—all while the wider-world loses its sense of connection, safety, and assurance. In those years of mourning, The Blue Mimes is a book of grounding and heartening resolve, even and especially in the states of uncertainty that define the human condition.

Rivera’s poems travel between Albuquerque, Lima, and Havana, deserts and coastlines and cities, Spanish and English—between modes of language and culture that shape the contours of memory and expose the fault lines of the self. In those inevitable fractures, with honest, off-kilter precision, Rivera vividly renders the ways in which the bereft become approximations of themselves as a means of survival, mimicking the stilted actions of the people they once were. Where speech is not enough, this astonishing collection finds a radical practice in continued searching, endurance without promise—the rifts in communion and incomplete pictures that afford the possibility to heal.

WINNER OF THE 2023 PULITZER PRIZE IN POETRY

A new collection of poems from one of America’s most essential, celebrated, and enduring poets, Carl Phillips's Then the War

I’m a song, changing. I’m a light
rain falling through a vast

darkness toward a different
darkness.

Carl Phillips has aptly described his work as an “ongoing quest”; Then the War is the next step in that meaningful process of self-discovery for both the poet and his reader. The new poems, written in a time of rising racial conflict in the United States, with its attendant violence and uncertainty, find Phillips entering deeper into the landscape he has made his own: a forest of intimacy, queerness, and moral inquiry, where the farther we go, the more difficult it is to remember why or where we started.

Then the War includes a generous selection of Phillips’s work from the previous thirteen years, as well as his recent lyric prose memoir, “Among the Trees,” and his chapbook, Star Map with Action Figures.

Ultimately, Phillips refuses pessimism, arguing for tenderness and human connection as profound forces for revolution and conjuring a spell against indifference and the easy escapes of nostalgia. Then the War is luminous testimony to the power of self-reckoning and to Carl Phillips as an ever-changing, necessary voice in contemporary poetry.

Sometimes it's difficult to take that first step into your future and embrace the unknown. This illustrated collection of poetry and essays empowers you to embrace your next adventure with confidence and grace, drawing on invaluable lessons from nature.

Popular Instagram poet and bestselling author Morgan Harper Nichols reimagines the classic heroine's journey--from the very first call to adventure, through trials, hardships, and new relationships, all the way back home--and offers key lessons and affirmations to encourage and equip you every step of the way.

• As you travel your own journey of self-discovery, you're invited to:
• Cultivate the courage you need to follow your passions
• Develop curiosity about the natural world around you
• Find comfort and inspiration for the inevitable trials on your journey
• Reflect on how your past has prepared you
• Step out in wonder and faith, knowing there is more for you

Morgan's signature art fills every page of this book, making it a gorgeous addition to your bedside or coffee table. This is a lovely gift to give yourself or others for birthdays, holidays, graduations and New Year's--any time there's a new beginning ahead.

Follow Morgan on Instagram @morganharpernicols (along with her millions of followers), and look for more beautiful, thought-provoking poetry in her other collections:

• All Along You Were Blooming
• How Far You Have Come

"Rupi Kaur is the Writer of the Decade." - The New Republic

#1 New York Times bestseller milk and honey is a collection of poetry and prose about survival. About the experience of violence, abuse, love, loss, and femininity.

The book is divided into four chapters, and each chapter serves a different purpose. Deals with a different pain. Heals a different heartache. milk and honey takes readers through a journey of the most bitter moments in life and finds sweetness in them because there is sweetness everywhere if you are just willing to look.

A remarkable poetry collection with "inextinguishable generosity and abundant wisdom" (Monica Youn) from Clint Smith, the #1 New York Times bestselling and National Book Critics Circle award-winning author of How the Word Is Passed.

Clint Smith's vibrant and compelling new collection traverses the vast emotional terrain of fatherhood, and explores how becoming a parent has recalibrated his sense of the world. There are poems that interrogate the ways our lives are shaped by both personal lineages and historical institutions. There are poems that revel in the wonder of discovering the world anew through the eyes of your children, as they discover it for the first time. There are poems that meditate on what it means to raise a family in a world filled with constant social and political tumult. Above Ground wrestles with how we hold wonder and despair in the same hands, how we carry intimate moments of joy and a collective sense of mourning in the same body. Smith's lyrical, narrative poems bring the reader on a journey not only through the early years of his children's lives, but through the changing world in which they are growing up--through the changing world of which we are all a part.

Above Ground is a breathtaking collection that follows Smith's first award-winning book of poetry, Counting Descent.

Winner of the 2012 Pulitzer Prize

* Poet Laureate of the United States *
* A New York Times Notable Book of 2011 and New York Times Book Review Editors' Choice *
* A New Yorker, Library Journal and Publishers Weekly Best Book of the Year *

New poetry by the award-winning poet Tracy K. Smith, whose "lyric brilliance and political impulses never falter" (Publishers Weekly, starred review)

You lie there kicking like a baby, waiting for God himself
To lift you past the rungs of your crib. What
Would your life say if it could talk?
—from "No Fly Zone"


With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these brilliant new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like "love" and "illness" now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope. With this remarkable third collection, Smith establishes herself among the best poets of her generation.

A collection of new and selected works from a prize-winning poet known to bear compassionate and ruthless witness to the quotidian.

Only as the Day Is Long represents a brilliant, daring body of work from one of our boldest contemporary poets, known to bear compassionate and ruthless witness to the quotidian. Drawn from Dorianne Laux’s five expansive volumes, including her confident debut Awake, National Book Critics Circle Finalist What We Carry, and Paterson Prize–winning The Book of Men, the poems in this collection have been "brought to the hard edge of meaning" (B. H. Fairchild) and praised for their "enormous precision and beauty" (Philip Levine). Twenty new odes pay homage to Laux’s mother, an ordinary and extraordinary woman of the Depression era.

The wealth of her life experience finds expression in Laux’s earthy and lyrical depictions of working-class America, full of the dirt and mess of real life. From the opening poem, "Two Pictures of My Sister," to the last, "Letter to My Dead Mother," she writes, in her words, of "living gristle" with a perceptive frankness that is luminous in its specificity and universal in its appeal. Exploring experiences of survival and healing, of sexual love and celebration, Only as the Day Is Long shows Laux at the height of her powers.

Beautiful and brutally honest, Mary Lambert's poetry is a beacon to anyone who's ever been knocked down—and picked themselves up again. In verse that deals with sexual assault, mental illness, and body acceptance, Ms. Lambert's Shame Is an Ocean I Swim Across emerges as an important new voice in poetry, providing strength and resilience even in the darkest of times.

From the Pulitzer Prize—winning former poet laureate, a collection of elegiac, irreverent, lyrical new poems—an American master at the height of his talent, shining light out into the dark

The latest volume of poetry from Charles Simic hums with the liveliness of the writer’s pen—Scribbled in the Dark brings the poet’s signature sardonic sense of humor, piercing social insight, and haunting lyricism to diverse and richly imagined landscapes.

Peopled by policemen, presidents, kids in Halloween masks, a fortune-teller, a fly on the wall of the poet’s kitchen; on crowded New York streets, on park benches, and under darkened skies: the pages within toy with the end of the world and its infinity. Charles Simic continues to be an imitable voice in modern American poetry, one of its finest chroniclers of the human condition.

This collection of stunningly beautiful poems encompasses the natural, human, and spiritual realms, and is bound together by the universal themes of time and mortality. With clarity and sureness of craft, Gluck's poetry questions, explores, and finally celebrates the ordeal of being alive.

From the New York Times best-selling author of Brooklyn, Colm Tóibín’s first collection of poetry explores sexuality, religion, and belonging through a modern lens

Fans of Colm Tóibín’s novels, including The Magician, The Master, and Nora Webster, will relish the opportunity to re-encounter Tóibín in verse. Vinegar Hill explores the liminal space between private experiences and public events as Tóibín examines a wide range of subjects—politics, queer love, reflections on literary and artistic greats, living through COVID, and facing mortality. The poems reflect a life well-traveled and well-lived; from growing up in the town of Enniscorthy, wandering the streets of Dublin, and crossing the bridges of Venice to visiting the White House, readers will travel through familiar locations and new destinations through Tóibín’s unique lens.

Within this rich collection of poems written over the course of several decades, shot through with keen observation, emotion, and humor, Tóibín offers us lines and verses to provoke, ponder, and cherish.

In a beautiful and transporting volume of poems, the beloved author of the No. 1 Ladies’ Detective Agency series takes us on a captivating journey from Africa to Greece, London to North America to Mumbai, and back home to Scotland, celebrating people, places, animals, and books.

What matters most in life? For Alexander McCall Smith, it is friendship, love, and travel—the themes found throughout his work that have made him a cherished writer the world over. This first collection of McCall Smith’s poems reflects on these topics with all his characteristic wit and charm.

There are moments of sweeping insight and soaring feeling, and moments that will have you laughing along as they subtly shift your worldview. This inimitable writer shares his distinctively astute and good-natured observations on life, love, and beauty, reminding us of the deep satisfaction that can be found when we open ourselves up to the world with our whole heart, and watch as it takes on a kinder and gentler shape.

A poet whose work is “a cause of celebration” (John Freeman, Boston Globe) reveals the extraordinary within the ordinary.

In this stirring volume, award-winning poet B. H. Fairchild seeks the ironic, haunting presence imbuing each ordinary life with beauty, power, and meaning. By turns polyphonic and deeply personal, these poems range from Kansas highways and sunbaked baseball fields to secondhand memories of a World War II foxhole. They zoom in on a welder’s truck, a Walmart on Black Friday, and a record store, where a chance encounter offers radiant kindness in the face of grief. Elevating blue-collar work and scenes from small towns in clear-eyed, reverent poetry, Fairchild proves himself once again “the American voice at its best” (New York Times).

From “Home”
I walk through crowded streets, listening to car horns
in the distance, a lone shout somewhere nearby,
the scuff and click of heels not far behind me,
people forever lost in the great puzzle of their lives

Award-winning poet Maya C. Popa suggests that our restless desires are inseparable from our mortality in this pressing and precise collection. Rooting out profound meaning in language to wrench us from the moorings of the familiar and into the realm of the extraordinary, the volume asks, how do we articulate what’s by definition inarticulable? Where does sight end and imagination begin?

Lucid and musically rich, these poems sound an appeal to a dwindling natural world and summon moments from the lives of literary forbearers—John Milton’s visit to Galileo, a vase broken by Marcel Proust—to unveil fresh wonder in the unlikely meetings of the past. Popa dramatizes the difficulties of loving a world that is at once rich with beauty and full of opportunities for grief, and reveals that the natural arc of wonder, from astonishment to reflection, more deeply connects us with our humanity.

* FINALIST FOR THE 2022 NATIONAL BOOK AWARD FOR POETRY *

The astounding second collection by Jenny Xie, “a magician of perspective and scale” (The New Yorker)

Shaped around moments of puncture and release, The Rupture Tense registers what leaks across the breached borders between past and future, background and foreground, silence and utterance. In polyphonic and formally restless sequences, Jenny Xie cracks open reverberant, vexed experiences of diasporic homecoming, intergenerational memory transfer, state-enforced amnesia, public secrecies, and the psychic fallout of the Chinese Cultural Revolution. Across these poems, memory—historical, collective, personal—stains and erodes. Xie voices what remains irreducible in our complex entanglements with familial ties, language, capitalism, and the histories in which we find ourselves lodged.

The Rupture Tense begins with poems provoked by the photography of Li Zhensheng, whose negatives, hidden under his floorboards to avoid government seizure, provide one of the few surviving visual archives of the Chinese Cultural Revolution, and concludes with an aching elegy for the poet’s grandmother, who took her own life shortly after the end of the Revolution. This extraordinary collection records the aftershocks and long distances between those years and the present, echoing out toward the ongoing past and a trembling future.

Finalist for the 2023 Kingsley Tufts Poetry Award
Finalist for the 2022 L.A. Times Book Prize for Poetry
Longlisted for the 2023 PEN/Jean Stein Book Award

In Customs, Solmaz Sharif examines what it means to exist in the nowhere of the arrivals terminal, a continual series of checkpoints, officers, searches, and questionings that become a relentless experience of America. With resignation and austerity, these poems trace a pointed indoctrination to the customs of the nation-state and the English language, and the realities they impose upon the imagination, the paces they put us through. While Sharif critiques the culture of performed social skills and poetry itself—its foreclosures, affects, successes—she begins to write her way out to the other side of acceptability and toward freedom.

Customs is a brilliant, excoriating new collection by a poet whose unfolding works are among the groundbreaking literature of our time.

Poems of migration, womanhood, trauma, and resilience from the celebrated collaborator on Beyoncé’s Lemonade and Black Is King, award-winning Somali British poet Warsan Shire

“The beautifully crafted poems in this collection are fiercely tender gifts.”—Roxane Gay, author of Bad Feminist

“Shire is the real thing—fresh, cutting, indisputably alive.”—Dwight Garner, The New York Times

LONGLISTED FOR THE GRIFFIN POETRY PRIZE • ONE OF THE BEST BOOKS OF THE YEAR: Vanity Fair, The Guardian, Publishers Weekly

Mama, I made it / out of your home / alive, raised by / the voices / in my head.

With her first full-length poetry collection, Warsan Shire introduces us to a young girl, who, in the absence of a nurturing guide, makes her own way toward womanhood. Drawing from her own life, as well as pop culture and news headlines, Shire finds vivid, unique details in the experiences of refugees and immigrants, mothers and daughters, Black women and teenage girls. In Shire’s hands, lives spring into fullness. This is noisy life, full of music and weeping and surahs and sirens and birds. This is fragrant life, full of blood and perfume and shisha smoke and jasmine and incense. This is polychrome life, full of henna and moonlight and lipstick and turmeric and kohl. The long-awaited collection from one of our most exciting contemporary poets, this book is a blessing, an incantatory celebration of resilience and survival. Each reader will come away changed.

A landmark collection of poetry by acclaimed fiction writer, translator, and MacArthur Fellow John Keene, PUNKS: NEW & SELECTED POEMS is a generous treasury in seven sections that spans decades and includes previously unpublished and brand new work. With depth and breadth, PUNKS weaves together historic narratives of loss, lust, and love. The many voices that emerge in these poems--from historic Black personalities, both familial and famous, to the poet's friends and lovers in gay bars and bedrooms--form a cast of characters capable of addressing desire, oppression, AIDS, and grief through sorrowful songs that "we sing as hard as we live." At home in countless poetic forms, PUNKS reconfirms John Keene as one of the most important voices in contemporary poetry.

"John Keene's PUNKS is utterly brilliant. The range, vision, depth and humanity he brings to the page are as galactic as Banneker's astral wanderings, as crisp as the chordal cutting of a searching horn, as courageous and small as a nose wide open. Keene's masterfully inventive inquiry of self and history is queered, Blackened, and joyously thick with multitudes of voice and valence. Amen to this exploration!"--Tyehimba Jess

Poetry. African & African American Studies. LGBTQIA Studies.

Finalist for the 2022 National Book Award for Poetry

In his brilliant, expansive second volume, Whiting Award–winning poet Roger Reeves probes the apocalypses and raptures of humanity—climate change, anti-Black racism, familial and erotic love, ecstasy and loss.

The poems in Best Barbarian roam across the literary and social landscape, from Beowulf’s Grendel to the jazz musician Alice Coltrane, from reckoning with immigration at the U.S.–Mexico border to thinking through the fraught beauty of the moon on a summer night after the police have killed a Black man.

Daring and formally elegant, Best Barbarian asks the reader: “Who has not been an entryway shuddering in the wind / Of another’s want, a rose nailed to some dark longing and bled?” Reeves extends his inquiry into the work of writers who have come before, conversing with—and sometimes contradicting—Walt Whitman, James Baldwin, Sappho, Dante, and Aimé Césaire, among others. Expanding the tradition of poetry to reach from Gilgamesh and the Aeneid to Drake and Beyoncé, Reeves adds his voice to a long song that seeks to address itself “only to freedom.”

Best Barbarian asks the reader to stay close as it plunges into catastrophe and finds surprising moments of joy and intimacy. This fearless, musical, and oracular collection announces Roger Reeves as an essential voice in American poetry.

WINNER OF THE 2022 PULITZER PRIZE IN POETRY
WINNER OF THE 2021 NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRY
WINNER OF THE 2022 PEN/VOELCKER AWARD FOR POETRY COLLECTION
WINNER OF THE 2021 LOS ANGELES TIMES BOOK PRIZE FOR POETRY

A resplendent life in sonnets from the author of Four-Legged Girl, a finalist for the Pulitzer Prize

“The sonnet, like poverty, teaches you what you can do / without,” Diane Seuss writes in this brilliant, candid work, her most personal collection to date. These poems tell the story of a life at risk of spilling over the edge of the page, from Seuss’s working-class childhood in rural Michigan to the dangerous allures of New York City and back again. With sheer virtuosity, Seuss moves nimbly across thought and time, poetry and punk, AIDS and addiction, Christ and motherhood, showing us what we can do, what we can do without, and what we offer to one another when we have nothing left to spare. Like a series of cels on a filmstrip, frank: sonnets captures the magnitude of a life lived honestly, a restless search for some kind of “beauty or relief.” Seuss is at the height of her powers, devastatingly astute, austere, and—in a word—frank.

United States Poet Laureate Joy Harjo gathers the work of more than 160 poets, representing nearly 100 indigenous nations, into the first historically comprehensive Native poetry anthology.

This landmark anthology celebrates the indigenous peoples of North America, the first poets of this country, whose literary traditions stretch back centuries. Opening with a blessing from Pulitzer Prize–winner N. Scott Momaday, the book contains powerful introductions from contributing editors who represent the five geographically organized sections. Each section begins with a poem from traditional oral literatures and closes with emerging poets, ranging from Eleazar, a seventeenth-century Native student at Harvard, to Jake Skeets, a young Diné poet born in 1991, and including renowned writers such as Luci Tapahanso, Natalie Diaz, Layli Long Soldier, and Ray Young Bear. When the Light of the World Was Subdued, Our Songs Came Through offers the extraordinary sweep of Native literature, without which no study of American poetry is complete.

NATIONAL BESTSELLER • From the former United States Poet Laureate and New York Times bestselling author of Aimless Love, a collection of more than 125 small poems, all of them new, and each a thought or observation compressed to its emotional essence

“Whenever I pick up a new book of poems, I flip through the pages looking for small ones. Just as I might have trust in an abstract painter more if I knew he or she could draw a credible chicken, I have faith in poets who can go short.”—Billy Collins

You can spot a Billy Collins poem immediately. The amiable voice, the light touch, the sudden turn at the end. He "puts the ‘fun’  back in profundity,” says poet Alice Fulton. In his own words, his poems tend to “begin in Kansas and end in Oz.”

Now “America’s favorite poet” (The Wall Street Journal) has found a new form for his unique poetic style: the small poem. Here Collins writes about his trademark themes of nature, animals, poetry, mortality, absurdity, and love—all in a handful of lines. Neither haiku nor limerick, the small poem pushes to an extreme poetry’s famed power to condense emotional and conceptual meaning. Inspired by the small poetry of writers as diverse as William Carlos Williams, W.S. Merwin, Kay Ryan, and Charles Simic, and written with Collins’s recognizable wit and wisdom, the poems of Musical Tables show one of our greatest poets channeling his unique voice into a new phase of his exceptional career.

3:00 AM

Only my hand
is asleep,
but it’s a start.

Following the success and momentum of his anthology How to Love the World (93,000 copies in print), James Crews's new collection, The Path to Kindness, offers more than 100 deeply felt and relatable poems from a diverse range of voices including well-known writers Julia Alvarez, Marie Howe, Ellen Bass, Naomi Shihab Nye, Alberto Ríos, Ross Gay, and Ada Limón, as well as new and emerging voices. Featured Black poets include January Gill O’Neil, Tracy K. Smith, and Cornelius Eady. Native American poets include Kimberly Blaeser, Joy Harjo (current U.S. Poet Laureate), and Linda Hogan. The collection also features international voices, including Canadian poets Lorna Crozier and Susan Musgrave. Presented in the same perfect-in-the-hand format as How to Love the World, the collection includes prompts for journaling and exploration of selected poems, a book group guide, bios of all the contributing poets, and stunning cover art by award-winning artist Dinara Mirtalipova. A foreword by Danusha Laméris, along with her popular poem "Small Kindnesses," is also included. 
 

From Lincoln Center’s inaugural poet-in-residence comes this unflinching collection that intricately mines the experience of being a Black woman in America.

A highly anticipated volume from critically acclaimed poet Mahogany L. Browne, Chrome Valley is at once a luminous hymn and a battle cry. Spanning the course of her own life as well as embodying centuries of virulent history, this collection pays solemn tribute to the women who came before her. Musically effervescent yet cutting poems capture the peculiar joys and pangs of Black girlhood: “you ain’t had freedom / ’til you climb on a bus 62 / & head to the closet mall / for a girl fight”; while others explore the inherent grief of motherhood, rhythmically intoning names like the tolling of a church bell: “Because Lesley McSpadden / Because Mamie Till / Because a Black mother know ain’t no song for that empty in ya belly.” Transcendent and grounded, funny and furious, the poems within bring depth to a movement, announcing Mahogany L. Browne as one of the most important poetic voices of our time.

A magnificent selection of fifty poems to celebrate three-term US Poet Laureate Joy Harjo’s fifty years as a poet.

Over a long, influential career in poetry, Joy Harjo has been praised for her “warm, oracular voice” (John Freeman, Boston Globe) that speaks “from a deep and timeless source of compassion for all” (Craig Morgan Teicher, NPR). Her poems are musical, intimate, political, and wise, intertwining ancestral memory and tribal histories with resilience and love.

In this gemlike volume, Harjo selects her best poems from across fifty years, beginning with her early discoveries of her own voice and ending with moving reflections on our contemporary moment. Generous notes on each poem offer insight into Harjo’s inimitable poetics as she takes inspiration from Navajo horse songs and jazz, reckons with home and loss, and listens to the natural messengers of the earth. As evidenced in this transcendent collection, Joy Harjo’s “poetry is light and elixir, the very best prescription for us in wounded times” (Sandra Cisneros, Millions).

The instant #1 New York Times, Wall Street Journal, and USA Today bestseller


The breakout poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman

Formerly titled The Hill We Climb and Other Poems, the luminous poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman captures a shipwrecked moment in time and transforms it into a lyric of hope and healing. In Call Us What We Carry, Gorman explores history, language, identity, and erasure through an imaginative and intimate collage. Harnessing the collective grief of a global pandemic, this beautifully designed volume features poems in many inventive styles and structures and shines a light on a moment of reckoning. Call Us What We Carry reveals that Gorman has become our messenger from the past, our voice for the future.

Named A Most Anticipated Book by: LitHub * Vulture * Time * A PW 2022 Holiday Gift Pick

One of: Time's "100 Must-Read Books of 2022" * NPR's 2022 "Books We Love" Vulture's "10 Best Books of 2022"

A Goodreads Readers Choice Award Semifinalist

From acclaimed poet Franny Choi comes a poetry collection for the ends of worlds--past, present, and future. Choi's third book features poems about historical and impending apocalypses, alongside musings on our responsibilities to each other and visions for our collective survival.

Many have called our time dystopian. But The World Keeps Ending, and the World Goes On reminds us that apocalypse has already come in myriad ways for marginalized peoples.

With lyric and tonal dexterity, these poems spin backwards and forwards in time--from Korean comfort women during World War II, to the precipice of climate crisis, to children wandering a museum in the future. These poems explore narrative distances and queer linearity, investigating on microscopic scales before soaring towards the universal. As she wrestles with the daily griefs and distances of this apocalyptic world, Choi also imagines what togetherness--between Black and Asian and other marginalized communities, between living organisms, between children of calamity and conquest--could look like. Bringing together Choi's signature speculative imagination with even greater musicality than her previous work, The World Keeps Ending, and the World Goes On ultimately charts new paths toward hope in the aftermaths, and visions for our collective survival.

The second full length poetry collection from the #1 New York Times bestselling author of What Kind of Woman.

Kate Baer shot into the literary stratosphere with the publication of her debut poetry collection, What Kind of Woman, which became an instant #1 New York Times bestseller.

Kate's second full-length book of traditional poetry, And Yet, dives deeper into the themes that are the hallmarks of her writing: motherhood, friendship, love, and loss. Taken together, these poems demonstrate the remarkable evolution of a writer and an artist working at the height of her craft, pushing herself and her poetry in a beautiful and impressive way.

Intimate, evocative, and bold, Kate's beguiling poetry firmly positions her in the company of Dorianne Laux, Mary Oliver, Maggie Nelson, and other great female poets of our time.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY

FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY

Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award

Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.

Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

“An astounding debut.”
—Adrienne Raphel, The New York Times Book Review

A dazzling love story in poems about one woman’s coming-out, coming-of-age, and coming undone
A woman lives an ordinary life in Brooklyn. She has a boyfriend. They share a cat. She writes poems in the prevailing style. She also has dreams: of being seduced by a throng of older women, of kissing a friend in a dorm-room closet. But the dreams are private, not real.

One night, she meets another woman at a bar, and an escape hatch swings open in the floor of her life. She falls into a consuming affair—into queerness, polyamory, kink, power and loss, humiliation and freedom, and an enormous surge of desire that lets her leave herself behind.

Maggie Millner’s captivating, seductive debut is a love story in poems that explores obsession, gender, identity, and the art and act of literary transformation. In rhyming couplets and prose vignettes, Couplets chronicles the strictures, structures, and pitfalls of relationships—the mirroring, the pleasing, the small jealousies and disappointments—and how the people we love can show us who we truly are.

"An endlessly inventive, wise, exhilarating book.”
—Garth Greenwell, author of Cleanness and What Belongs to You

In the tumult of our contemporary moment, poetry has emerged as an inviting, consoling outlet with a unique power to move and connect us, to inspire fury, tears, joy, laughter, and surprise. This generous anthology pairs fifty illuminating poems with poet and podcast host Pádraig Ó Tuama's appealing, unhurried reflections. With keen insight and warm personal anecdotes, Ó Tuama considers each poem's artistry and explores how its meaning can reach into our own lives.

Focusing mainly on poets writing today, Ó Tuama engages with a diverse array of voices that includes Ada Limón, Ilya Kaminsky, Margaret Atwood, Ocean Vuong, Layli Long Soldier, and Reginald Dwayne Betts. Natasha Trethewey meditates on miscegenation and Mississippi; Raymond Antrobus makes poetry out of the questions shot at him by an immigration officer; Martín Espada mourns his father; Marie Howe remembers and blesses her mother's body; Aimee Nezhukumatathil offers comfort to her child-self. Through these wide-ranging poems, Ó Tuama guides us on an inspiring journey to reckon with self-acceptance, history, independence, parenthood, identity, joy, and resilience.

For anyone who has wanted to try their hand at a conversation with poetry but doesn't know where to start, Poetry Unbound presents a window through which to celebrate the art of being alive.

NEW YORK TIMES BESTSELLER

From the celebrated author of Inward comes a new collection of poetry and short prose focused on understanding how past wounds impact our present relationships.

In Clarity & Connection, Yung Pueblo describes how intense emotions accumulate in our subconscious and condition us to act and react in certain ways. In his characteristically spare, poetic style, he guides readers through the excavation and release of the past that is required for growth.

To be read on its own or as a complement to Inward, Yung Pueblo's second work is a powerful resource for those invested in the work of personal transformation, building self-awareness, and deepening their connection with others.

“Tracy K. Smith’s poetry is an awakening itself.” —Vogue

Celebrated for its extraordinary intelligence and exhilarating range, the poetry of Tracy K. Smith opens up vast questions. Such Color: New and Selected Poems, her first career-spanning volume, traces an increasingly audacious commitment to exploring the unknowable, the immense mysteries of existence. Each of Smith’s four collections moves farther outward: when one seems to reach the limits of desire and the body, the next investigates the very sweep of history; when one encounters death and the outer reaches of space, the next bears witness to violence against language and people from across time and delves into the rescuing possibilities of the everlasting. Smith’s signature voice, whether in elegy or praise or outrage, insists upon vibrancy and hope, even—and especially—in moments of inconceivable travesty and grief.

Such Color collects the best poems from Smith’s award-winning books and culminates in thirty pages of brilliant, excoriating new poems. These new works confront America’s historical and contemporary racism and injustices, while they also rise toward the registers of the ecstatic, the rapturous, and the sacred—urging us toward love as a resistance to everything that impedes it. This magnificent retrospective affirms Smith’s place as one of the twenty-first century’s most treasured poets.

Finalist for the 2022 Los Angeles Times Book Prize and the 2021 NAACP Image Award for Outstanding Literary Work - Poetry

A piercing, unflinching new volume offers necessary music for our tumultuous present, from “perhaps the best public poet we have” (Boston Globe).

In her first volume of new poems in twelve years, Rita Dove investigates the vacillating moral compass guiding America’s, and the world’s, experiments in democracy. Whether depicting the first Jewish ghetto in sixteenth-century Venice or the contemporary efforts of Black Lives Matter, a girls’ night clubbing in the shadow of World War II or the doomed nobility of Muhammad Ali’s conscious objector stance, this extraordinary poet never fails to connect history’s grand exploits to the triumphs and tragedies of individual lives.

Meticulously orchestrated and musical in its forms, Playlist for the Apocalypse collects a dazzling array of voices: an elevator operator simmers with resentment, an octogenarian dances an exuberant mambo, a spring cricket philosophizes with mordant humor on hip hop, critics, and Valentine’s Day. Calamity turns all too personal in the book’s final section, “Little Book of Woe,” which charts a journey from terror to hope as Dove learns to cope with debilitating chronic illness.

At turns audaciously playful and grave, alternating poignant meditations on mortality and acerbic observations of injustice, Playlist for the Apocalypse takes us from the smallest moments of redemption to catastrophic failures of the human soul. Listen up, the poet says, speaking truth to power; what you’ll hear in return is “a lifetime of song.”

Pulitzer Prize winner and celebrated American master N. Scott Momaday returns with a radiant collection of more than 200 new and selected poems rooted in Native American tradition.

"The poems in this book reflect my deep respect for and appreciation of words. . . . I believe that poetry is the highest form of verbal expression. Although I have written in other forms, I find that poems are what I want and need most to read and write. They give life to my mind."

One of the most important and unique voices in American letters, distinguished poet, novelist, artist, teacher, and storyteller N. Scott Momaday was born into the Kiowa tribe and grew up on Indian reservations in the Southwest. The customs and traditions that influenced his upbringing--most notably the Native American oral tradition--are the centerpiece of his work.

This luminous collection demonstrates Momaday's mastery and love of language and the matters closest to his heart. To Momaday, words are sacred; language is power. Spanning nearly fifty years, the poems gathered here illuminate the human condition, Momaday's connection to his Kiowa roots, and his spiritual relationship to the American landscape.

The title poem, "The Death of Sitting Bear" is a celebration of heritage and a memorial to the great Kiowa warrior and chief. "I feel his presence close by in my blood and imagination," Momaday writes, "and I sing him an honor song." Here, too, are meditations on mortality, love, and loss, as well as reflections on the incomparable and holy landscape of the Southwest.

The Death of Sitting Bear evokes the essence of human experience and speaks to us all.

Margaret Noodin explains in the preface of her new poetry collection, What the Chickadee Knows (Gijigijigaaneshiinh Gikendaan), Whether we hear giji-giji-gaane-shii-shii or chick-a-dee-dee-dee depends on how we have been taught to listen. Our world is shaped by the sounds around us and the filter we use to turn thoughts into words. The lines and images here were conceived first in Anishinaabemowin and then in English. They are an attempt to hear and describe the world according to an Anishinaabe paradigm. The book is concerned with nature, history, tradition, and relationships, and these poems illuminate the vital place of the author's tribe both in the past and within the contemporary world.

What the Chickadee Knows is a gesture toward a future that includes Anishinaabemowin and other indigenous languages seeing growth and revitalization. This bilingual collection includes Anishinaabemowin and English, with the poems mirroring one another on facing pages. In the first part, What We Notice (E-Maaminonendamang), Noodin introduces a series of seasonal poems that invoke Anishinaabe science and philosophy. The second part, History (Gaa Ezhiwebag), offers nuanced contemporary views of Anishinaabe history. The poems build in urgency, from observations of the natural world and human connection to poems centered in powerful grief and remembrance for events spanning from the Sandy Lake Tragedy of 1850, which resulted in the deaths of more than four hundred Ojibwe people, to the Standing Rock water crisis of 2016, which resulted in the prosecution of Native protesters and, ultimately, the completion of the Dakota Access Pipeline on sacred land.

The intent of What the Chickadee Knows is to create a record of the contemporary Anishinaabe worldview as it is situated between the traditions of the past and as it contributes to the innovation needed for survival into the future. Readers of poetry with an interest in world languages and indigenous voices will need this book.

Finalist for the National Book Award for Poetry

WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.

—from “WHEREAS Statements”

WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

Longlisted for the 2018 National Book Award in Poetry

Winner of the National Poetry Series Competition, selected by Cornelius Eady--an exploration in verse of imperial appropriation and Mexican American cultural identity

"Marvelous, argumentative, and curiosity-provoking" --The New York Times Book Review

The poems in J. Michael Martinez's third collection of poetry circle around how the perceived body comes to be coded with the trans-historical consequences of an imperial narrative. Engaging beautiful and otherworldly Mexican casta paintings, morbid photographic postcards depicting the bodies of dead Mexicans, the strange journey of the wood and cork leg of General Santa Anna, and Martinez's own family lineage, Museum of the Americas gives accounts of migrant bodies caught beneath, and fashioned under, a racializing aesthetic gaze. Martinez questions how "knowledge" of the body is organized through visual perception of that body, hypothesizing the corporeal as a repository of the human situation, a nexus of culture. Museum of the Americas' poetic revives and repurposes the persecuted ethnic body from the appropriations that render it an art object and, therefore, diposable.

An astonishing collection about interconnectedness--between the human and nonhuman, ancestors and ourselves--from National Book Critics Circle Award winner, National Book Award finalist and U.S. Poet Laureate Ada Limón.

"I have always been too sensitive, a weeper / from a long line of weepers," writes Limón. "I am the hurting kind." What does it mean to be the hurting kind? To be sensitive not only to the world's pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings--and to know that those beings are resolutely their own, that they "do not / care to be seen as symbols"?

With Limón's remarkable ability to trace thought, The Hurting Kind explores those questions--incorporating others' stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families.

Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. "Slippery and waddle thieving my tomatoes still / green in the morning's shade," writes Limón of a groundhog in her garden, "she is doing what she can to survive."

A brave new collection of poems from Sandra Cisneros, the best-selling author of The House on Mango Street.

It has been twenty-eight years since Sandra Cisneros published a book of poetry. With dozens of never-before-seen poems, Woman Without Shame is a moving collection of songs, elegies, and declarations that chronicle her pilgrimage toward rebirth and the recognition of her prerogative as a woman artist. These bluntly honest and often humorous meditations on memory, desire, and the essential nature of love blaze a path toward self-awareness. For Cisneros, Woman Without Shame is the culmination of her search for home--in the Mexico of her ancestors and in her own heart.

Martín Espada is a poet who stirs in us an undeniable social consciousness, says Richard Blanco. Floaters offers exuberant odes and defiant elegies, songs of protest and songs of love from one of the essential voices in American poetry.

Floaters takes its title from a term used by certain Border Patrol agents to describe migrants who drown trying to cross over. The title poem responds to the viral photograph of Óscar and Valeria, a Salvadoran father and daughter who drowned in the Río Grande, and allegations posted in the I'm 10-15 Border Patrol Facebook group that the photo was faked. Espada bears eloquent witness to confrontations with anti-immigrant bigotry as a tenant lawyer years ago, and now sings the praises of Central American adolescents kicking soccer balls over a barbed wire fence in an internment camp founded on that same bigotry. He also knows that times of hate call for poems of love--even in the voice of a cantankerous Galápagos tortoise.

The collection ranges from historical epic to achingly personal lyrics about growing up, the baseball that drops from the sky and smacks Espada in the eye as he contemplates a girl's gently racist question.

Whether celebrating the visionaries--the fallen dreamers, rebels and poets--or condemning the outrageous governmental neglect of his father's Puerto Rico in the wake of Hurricane María, Espada invokes ferocious, incandescent spirits.

Felon tells the story of the effects of incarceration in fierce, dazzling poems--canvassing a wide range of emotions and experiences through homelessness, underemployment, love, drug abuse, domestic violence, fatherhood, and grace--and, in doing so, creates a travelogue for an imagined life. Reginald Dwayne Betts confronts the funk of postincarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person's life.

The poems move between traditional and newfound forms with power and agility--from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume's radiant conclusion. Drawing inspiration from lawsuits filed on behalf of the incarcerated, the redaction poems focus on the ways we exploit and erase the poor and imprisoned from public consciousness. Traditionally, redaction erases what is top secret; in Felon, Betts redacts what is superfluous, bringing into focus the profound failures of the criminal justice system and the inadequacy of the labels it generates.

Challenging the complexities of language, Betts animates what it means to be a "felon."

NPR Best Books of 2019
Chicago Tribune Best Books of 2019
Chicago Review of Books Best Poetry Book of 2019
O Magazine Best Books by Women of Summer 2019
The Millions Must-Read Poetry of June 2019
LitHub Most Anticipated Reads of Summer 2019

The Chicago Race Riot of 1919, the most intense of the riots comprising the nation's Red Summer, has shaped the last century but is not widely discussed. In 1919, award-winning poet Eve L. Ewing explores the story of this event--which lasted eight days and resulted in thirty-eight deaths and almost 500 injuries--through poems recounting the stories of everyday people trying to survive and thrive in the city. Ewing uses speculative and Afrofuturist lenses to recast history, and illuminates the thin line between the past and the present.

Finalist for the National Book Award for Poetry
Winner of the Forward Prize for Best Collection

“[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy.”—The New Yorker

Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality—the dangers experienced in skin and body and blood—and a diagnosis of HIV positive. “Some of us are killed / in pieces,” Smith writes, “some of us all at once.” Don’t Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America—“Dear White America”—where every day is too often a funeral and not often enough a miracle.

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.

In her fourth full-length book, White Blood: A Lyric of Virginia, Kiki Petrosino turns her gaze to Virginia, where she digs into her genealogical and intellectual roots, while contemplating the knotty legacies of slavery and discrimination in the Upper South. From a stunning double crown sonnet, to erasure poetry contained within DNA testing results, the poems in this collection are as wide-ranging in form as they are bountiful in wordplay and truth. In her poem 'The Shop at Monticello, ' she writes: 'I'm a black body in this Commonwealth, which turned black bodies/ into money. Now, I have money to spend on little trinkets to remind me/ of this fact. I'm a money machine & my body constitutes the common wealth.' Speaking to history, loss, and injustice with wisdom, innovation, and a scientific determination to find the poetic truth, White Blood plants Petrosino's name ever more firmly in the contemporary canon.

With the publication of his first book of poems,The Weary Blues, in 1926, Langston Hughes electrified readers and launched a renaissance in black writing in America.  The poems Hughes wrote celebrated the experience of invisible men and women: of slaves who "rushed the boots of Washington"; of musicians on Lenox Avenue; of the poor and the lovesick; of losers in "the raffle of night."  They conveyed that experience in a voice that blended the spoken with the sung, that turned poetic lines into the phrases of jazz and blues, and that ripped through the curtain separating high from popular culture.  They spanned the range from the lyric to the polemic, ringing out "wonder and pain and terror-- and the marrow of the bone of life."

The poems in this collection were chosen by Hughes himself shortly before his death in 1967 and represent work from his entire career, including "The Negro Speaks of Rivers," "The Weary Blues," "Still Here," "Song for a Dark Girl," "Montage of a Dream Deferred," and "Refugee in America."  It gives us a poet of extraordinary range, directness, and stylistic virtuosity.

Winner of the 2018 National Book Award in Poetry

Indecency is boldly and carefully executed and perfectly ragged. In these poems, Justin Phillip Reed experiments with language to explore inequity and injustice and to critique and lament the culture of white supremacy and the dominant social order. Political and personal, tender, daring, and insightful--the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.

Shortlisted for the T. S. Eliot Prize
Finalist for the Forward Prize for Best Collection

The extraordinary new poetry collection by Tracy K. Smith, the Poet Laureate of the United States

Even the men in black armor, the ones
Jangling handcuffs and keys, what else

Are they so buffered against, if not love’s blade
Sizing up the heart’s familiar meat?

We watch and grieve. We sleep, stir, eat.
Love: the heart sliced open, gutted, clean.

Love: naked almost in the everlasting street,
Skirt lifted by a different kind of breeze.

—from “Unrest in Baton Rouge”

In Wade in the Water, Tracy K. Smith boldly ties America’s contemporary moment both to our nation’s fraught founding history and to a sense of the spirit, the everlasting. These are poems of sliding scale: some capture a flicker of song or memory; some collage an array of documents and voices; and some push past the known world into the haunted, the holy. Smith’s signature voice—inquisitive, lyrical, and wry—turns over what it means to be a citizen, a mother, and an artist in a culture arbitrated by wealth, men, and violence. Here, private utterance becomes part of a larger choral arrangement as the collection widens to include erasures of The Declaration of Independence and the correspondence between slave owners, a found poem comprised of evidence of corporate pollution and accounts of near-death experiences, a sequence of letters written by African Americans enlisted in the Civil War, and the survivors’ reports of recent immigrants and refugees. Wade in the Water is a potent and luminous book by one of America’s essential poets.

Finalist, Los Angeles Times Book Prize for Poetry

Love Child's Hotbed of Occasional Poetry is a twenty-first-century paean to the sterling love songs humming throughout four hundred years of black American life. National Book Award winner Nikky Finney's fifth collection contains lighthouse poems, narrative hotbeds, and treasured artifacts--copper coins struck from a new matrix for poetry, one that testifies from the witness stand and punctuates the occasional lyric within a new language of "docu-poetry."

The ancestors arise and fly, and the black female body is the "insurgent sensualist," hunted but fighting to live and love in the ways it wants and knows best: "I loved being / a black girl but had not yet learned / to play dead . . ."

The tenderness of a father's handwritten notes shadows the collection like a ghost, while the treasured, not-for-sale interiority of a black girl's fountainhead takes over every page. "One yellaw gal with an all-black tongue has gone missing." Finney has composed a new black spiritual, and one of the great voices of our time again stamps her singular sound into the new day.

A collection of three powerful poems that take on racism and Black resistance in America by New York Times best-selling author Kwame Alexander. Includes an introduction by the author.

A double book by Pulitzer Prize winning poet Rae Armantrout

What will we call the last generation before the looming end times? With Finalists Rae Armantrout suggests one option. Brilliant and irascible, playful and intense, Armantrout nails the current moment's debris fields and super computers, its sizzling malaise and confusion, with an exemplary immensity of heart and a boundless capacity for humor. The poems in this book find (and create) beauty in midst of the ongoing crisis.

CONTRAST

What's to like
if not contrast?

Shadows beneath
the model's sharp

cheekbones, her ample
yet precise lips.

Clean lines separating
bounty
from its opposite.

This is not
what I want

to want.

These eyes
on the hypothetical

distance.

“Paul Tran’s debut collection of poems is indelible, this remarkable voice transforming itself as you read, eventually transforming you.” —Alexander Chee, author of How to Write an Autobiographical Novel

“This powerful debut marshals narrative lyrics and stark beauty to address personal and political violence.” —New York Times Book Review
 
A profound meditation on physical, emotional, and psychological transformation in the aftermath of imperial violence and interpersonal abuse, from a poet both “tender and unflinching” (Khadijah Queen)

Visceral and astonishing, Paul Tran's debut poetry collection All the Flowers Kneeling investigates intergenerational trauma, sexual violence, and U.S. imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran’s poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love.

Winner of the 2021 Costa Book of the Year and the 2021 Costa Poetry Award. Selected as Poetry Book Society Choice for Autumn 2021 and shortlisted for the 2021 T S Eliot Prize.

Hannah Lowe taught for a decade in an inner-city London sixth form. At the heart of this book of compassionate and energetic sonnets are fictionalised portraits of 'The Kids', the students she nurtured. But the poems go further, meeting her own child self as she comes of age in the riotous 80s and 90s, later bearing witness to her small son learning to negotiate contemporary London.

Across these deeply felt poems, Lowe interrogates the acts of teaching and learning with empathy and humour. Social class, gender and race - and their fundamental intersection with education - are investigated with an ever critical and introspective eye. These boisterous and musical poems explore the universal experience of what it is to be taught, to learn and to teach.

The highly anticipated collection of poems from the award-winning writer Ocean Vuong

How else do we return to ourselves but to fold
The page so it points to the good part

In this deeply intimate second poetry collection, Ocean Vuong searches for life among the aftershocks of his mother’s death, embodying the paradox of sitting within grief while being determined to survive beyond it. Shifting through memory, and in concert with the themes of his novel On Earth We’re Briefly Gorgeous, Vuong contends with personal loss, the meaning of family, and the cost of being the product of an American war in America. At once vivid, brave, and propulsive, Vuong’s poems circle fragmented lives to find both restoration as well as the epicenter of the break.

The author of the critically acclaimed poetry collection Night Sky With Exit Wounds, winner of the 2016 Whiting Award, the 2017 T. S. Eliot Prize, and a 2019 MacArthur fellow, Vuong writes directly to our humanity without losing sight of the current moment. These poems represent a more innovative and daring experimentation with language and form, illuminating how the themes we perennially live in and question are truly inexhaustible. Bold and prescient, and a testament to tenderness in the face of violence, Time Is a Mother is a return and a forging forth all at once.

"In the searing ecological and love poems of his new collection, Twice Alive, Pulitzer Prize winner Forrest Gander addresses the exigencies of our historical moment and the intimacies, personal and environmental, that bind us to others and to the world. Drawing from his training in geology and on the tradition of Sangam literature, Gander invests these poems with an emotional intensity that illumines our deep-tangled interrelations. While conducting fieldwork with a celebrated mycologist, Gander links human intimacy with the transformative collaborations between species that compose lichens. His poems ask us provocative questions: Do we live twice? Can we really merge with others? Twice Alive combines what one critic (Alan Golding) calls "the most searing love poems of the 21st century" with poems centered on the environment. Gander addresses personal and ecological trauma- several poems focus on the devastation wrought by wildfires in California where he lives-but his tone is overwhelmingly celebratory. Twice Alive is a book charged with exultation and tenderness"--

WINNER OF THE NOBEL PRIZE IN LITERATURE

A haunting new book by a poet whose voice speaks of all our lifetimes

Louise Glück’s thirteenth book is among her most haunting. Here as in the Wild Iris there is a chorus, but the speakers are entirely human, simultaneously spectral and ancient. Winter Recipes from the Collective is chamber music, an invitation into that privileged realm small enough for the individual instrument to make itself heard, dolente, its line sustained, carried, and then taken up by the next instrument, spirited, animoso, while at the same time being large enough to contain a whole lifetime, the inconceivable gifts and losses of old age, the little princesses rattling in the back of a car, an abandoned passport, the ingredients of an invigorating winter sandwich, a sister’s death, the joyful presence of the sun, its brightness measured by the darkness it casts.

“Some of you will know what I mean,” the poet says, by which she means, some of you will follow me. Hers is the sustaining presence, the voice containing all our lifetimes, “all the worlds, each more beautiful than the last.” This magnificent book couldn’t have been written by anyone else, nor could it have been written by the poet at any other time in her life.

An urgent new collection from the winner of the Pulitzer Prize and the National Book Award and “one of the undisputed master poets of our time” (Craig Morgan Teicher, NPR)

Words, voices reek of the worlds from which they
emerge: different worlds, each with its all but palpable
aroma, its parameters, limitations, promise.

Words—there is a gap, nonetheless always
and forever, between words and the world—

slip, slide, are imprecise, BLIND, perish.
•
Set up a situation,—
. . . then reveal an abyss.

For more than fifty years, Frank Bidart has given voice to the inner self, to the depths of his own psyche and the unforgettable characters that populate his poems. In Against Silence, the Pulitzer Prize winner’s eleventh collection of poetry, Bidart writes of the cycles we cannot escape and the feelings we cannot forget. Our history is not a tabula rasa but a repeating, refining story of love and hate, of words spoken and old cruelties enacted. Moving among the dead and the living, the figures of his life and of his past, Bidart calls reality forth—with nothing settled and nothing forgotten, we must speak.

The instant #1 New York Times, Wall Street Journal, and USA Today bestseller


The breakout poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman

Formerly titled The Hill We Climb and Other Poems, the luminous poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman captures a shipwrecked moment in time and transforms it into a lyric of hope and healing. In Call Us What We Carry, Gorman explores history, language, identity, and erasure through an imaginative and intimate collage. Harnessing the collective grief of a global pandemic, this beautifully designed volume features poems in many inventive styles and structures and shines a light on a moment of reckoning. Call Us What We Carry reveals that Gorman has become our messenger from the past, our voice for the future.

A reinvestigation of chemical biological weapons dropped on the Hmong people in the fallout of the Vietnam War

In this staggering work of documentary, poetry, and collage, Mai Der Vang reopens a wrongdoing that deserves a new reckoning. As the United States abandoned them at the end of the Vietnam War, many Hmong refugees recounted stories of a mysterious substance that fell from planes during their escape from Laos starting in the mid-1970s. This substance, known as “yellow rain,” caused severe illnesses and thousands of deaths. These reports prompted an investigation into allegations that a chemical biological weapon had been used against the Hmong in breach of international treaties. A Cold War scandal erupted, wrapped in partisan debate around chemical arms development versus control. And then, to the world’s astonishment, American scientists argued that yellow rain was the feces of honeybees defecating en masse—still held as the widely accepted explanation. The truth of what happened to the Hmong, to those who experienced and suffered yellow rain, has been ignored and discredited.

Integrating archival research and declassified documents, Yellow Rain calls out the erasure of a history, the silencing of a people who at the time lacked the capacity and resources to defend and represent themselves. In poems that sing and lament, that contend and question, Vang restores a vital narrative in danger of being lost, and brilliantly explores what it means to have access to the truth and how marginalized groups are often forbidden that access.

Kaveh Akbar’s exquisite, highly anticipated follow-up to Calling a Wolf a Wolf


With formal virtuosity and ruthless precision, Kaveh Akbar’s second collection takes its readers on a spiritual journey of disavowal, fiercely attendant to the presence of divinity where artifacts of self and belonging have been shed. How does one recover from addiction without destroying the self-as-addict? And if living justly in a nation that would see them erased is, too, a kind of self-destruction, what does one do with the body’s question, “what now shall I repair?” Here, Akbar responds with prayer as an act of devotion to dissonance—the infinite void of a loved one’s absence, the indulgence of austerity, making a life as a Muslim in an Islamophobic nation—teasing the sacred out of silence and stillness.


Richly crafted and generous, Pilgrim Bell’s linguistic rigor is tuned to the register of this moment and any moment. As the swinging soul crashes into its limits, against the atrocities of the American empire, and through a profoundly human capacity for cruelty and grace, these brilliant poems dare to exist in the empty space where song lives—resonant, revelatory, and holy.

An Instant New York Times Bestseller

The author of the #1 New York Times bestseller What Kind of Woman returns with a collection of erasure poems created from notes she received from followers, supporters and detractors--an artform that reclaims the vitriol from online trolls and inspires readers to transform what is ugly or painful in their own lives into something beautiful.

"I'm sure you could benefit from jumping on a treadmill"

"Women WANT a male leader . . . It's honest to god the basic human playbook"

These are some of the thousands of messages that Kate Baer has received online. Like countless other writers--particularly women--with profiles on the internet, as Kate's online presence grew, so did the darker messages crowding her inbox. These missives from strangers have ranged from "advice" and opinions to outright harassment.

At first, these messages resulted in an immediate delete and block. Until, on a whim, Kate decided to transform the cruelty into art, using it to create fresh and intriguing poems. These pieces, along with ones made from notes of gratitude and love, as well as from the words of public figures, have become some of her most beloved work.

I Hope This Finds You Well is drawn from those works: a book of poetry birthed in the darkness of the internet that offers light and hope. By cleverly building on the harsh negativity and hate women often receive--and combining it with heartwarming messages of support, gratitude, and connection, Kate Baer offers us a lesson in empowerment, showing how we too can turn bitterness into beauty.

From one of the most-viewed spoken word poets of all time, a collection exploring loneliness, anxiety, and longing—and finding peace, and even joy, in unexpected places

Sabrina Benaim, author of Depression & Other Magic Tricks, has connected deeply with readers and reached millions of viewers through her poetry, breaking down the stigma around mental illness. Now, she dives into challenging and universal territory: grief over a relationship’s end, loneliness in a world under lockdown, and the anxiety of caring for a loved one from afar in the wake of a serious diagnosis. 
 
Unfurling over the course of one month in 2020, in seventy-five original poems, I Love You, Call Me Back grapples with mental health struggles and the uncertainty of the moment and beyond. In isolation, Sabrina dares to embrace loneliness in all its permutations: the sorrow of getting your mother’s voicemail when you call to say “I love you"; the bitter-sweetness when your dog takes up your ex’s side of the bed; the joys of eating ice cream for dinner and singing badly, loudly.
 
In her raw and deeply relatable style, Sabrina reminds us to love our whole selves: you can’t have joy without sorrow, and being anxious or depressed doesn’t mean you can never be happy. In her words, “Sometimes self-care is just surviving.” And that’s okay. Sabrina shows us that there’s beauty and courage in that, too.