In this poetry debut Mosab Abu Toha writes about his life under siege in Gaza, first as a child, and then as a young father. A survivor of four brutal military attacks, he bears witness to a grinding cycle of destruction and assault, and yet, his poetry is inspired by a profound humanity. These poems emerge directly from the experience of growing up and living in constant lockdown, and often under direct attack. Like Gaza itself, they are filled with rubble and the ever-present menace of surveillance drones policing a people unwelcome in their own land, and they are also suffused with the smell of tea, roses in bloom, and the view of the sea at sunset. Children are born, families continue traditions, students attend university, and libraries rise from the ruins as Palestinians go on about their lives, creating beauty and finding new ways to survive. Accompanied by an in-depth interview (conducted by Ammiel Alcalay) in which Abu Toha discusses life in Gaza, his family origins, and how he came to poetry. Praise for Things You May Find Hidden in My Ear: "Mosab Abu Toha is an astonishingly gifted young poet from Gaza, almost a seer with his eloquent lyrical vernacular ... His poems break my heart and awaken it, at the same time. I feel I have been waiting for his work all my life."--Naomi Shihab Nye "Though forged in the bleak landscape of Gaza, he conjures a radiance that echoes Miłosz and Kabir. These poems are like flowers that grow out of bomb craters and Mosab Abu Toha is an astonishing talent to celebrate."--Mary Karr "Mosab Abu Toha's Things You May Find Hidden in My Ear arrives with such refreshing clarity and voice amidst a sea of immobilizing self-consciousness. It is no great feat to say a complicated thing in a complicated way, but here is a poet who says it plain: 'In Gaza, some of us cannot completely die.' Later, 'This is how we survived.' It's remarkable. This is poetry of the highest order."--Kaveh Akbar
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.
"At the time of have-not, I look at myself in this mirror," writes Olds in this self-scouring, exhilarating volume, which opens with a section of quarantine poems, and at its center boasts what she calls Amherst Balladz (whose syntax honors Emily Dickinson: "she was our Girl - our Woman - / Man enough - for me") and many more in her own contemporary, long-flowing-sentence rhythm. Olds sings of her childhood, young womanhood, and maturity all mixed up together, seeing an early lover in the one who is about to buried; seeing her whiteness, seeing her privilege; seeing her mother (whom her readers will recognize) "flushed exalted at Punishment time"; seeing how we've spoiled the earth but carrying a stray indoor spider carefully back out to the garden. It is Olds's gift to us that in the richly detailed exposure of her sorrows she can still elegize songbirds, her true kin, and write that heaven comes here in life, not after it.
In this groundbreaking collection of poems, José Olivarez explores every kind of love--self, brotherly, romantic, familial, cultural. Grappling with the contradictions of the American Dream with unflinching humanity, he lays bare the ways in which "love is complicated by forces larger than our hearts." Whether readers enter this collection in English or via the Spanish translation by poet David Ruano, these extraordinary poems are sure to become beloved for their illuminations of life--and love. En esta innovadora colección de poemas, José Olivarez explora cada tipo de amor--el propio, fraternal, romántico, familiar, cultural. Lidiando con las contradicciones del sueño americano, con una humanidad inquebrantable, deja al descubierto las maneras en que "el amor se va complicando por fuerzas más grandes que nuestros corazones". Ya sea que los lectores entren a esta colección en inglés o a partir de la traducción al español del poeta David Ruano, estos extraordinarios poemas serán amados seguramente por sus iluminaciones sobre el amor y la vida.
Taking the measure of the tradition in a single indispensable volume, African American Poetry: 250 Years of Struggle and Song sets a new standard for a genuinely deep engagement with Black poetry and its essential expression of American genius.
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.
For more than thirty years, Ana Castillo has been mesmerizing and inspiring readers from all over the world with her passionate and fiery poetry and prose. Now the original Xicanista is back to her first literary love, poetry, and to interrogating the social and political upheaval the world has seen over the last decade. Angry and sad, playful and wise, Castillo delves into the bitter side of our world--the environmental crisis, COVID-19, ongoing systemic racism and violence, children in detention camps, and the Trump presidency--and emerges stronger from exploring these troubling affairs of today. Drawings by Castillo created over the past five years are featured throughout the collection and further showcase her connection to her work as both a writer and a visual artist. My Book of the Dead is a remarkable collection that features a poet at the height of her craft.
The Poetry of Impermanence, Mindfulness, and Joy received the Spirituality & Practice Book Award for 50 Best Spiritual Books in 2017 by Spirituality and Practice Website. The poems expertly gathered here offer all that one might hope for in spiritual companionship: wisdom, compassion, peacefulness, good humor, and the ability to both absorb and express the deepest human emotions of grief and joy. The book includes a short essay on "Mindful Reading" and a meditation on sound from editor John Brehm--helping readers approach the poems from an experiential, non-analytical perspective and enter into the mindful reading of poetry as a kind of meditation.
From National Book Award finalist Ada Limón comes The Carrying--her most powerful collection yet. Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility--"What if, instead of carrying / a child, I am supposed to carry grief?"--and a body seized by pain and vertigo as well as ecstasy. A nation convulses: "Every song of this country / has an unsung third stanza, something brutal." And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. "Fine then, / I'll take it," she writes. "I'll take it all." In Bright Dead Things, Limón showed us a heart "giant with power, heavy with blood"--"the huge beating genius machine / that thinks, no, it knows, / it's going to come in first." In her follow-up collection, that heart is on full display--even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.
From a co-creator of the Emmy-nominated web series Brown Girls comes an imaginative, soulful debut poetry that collection captures the experiences of being a young Pakistani Muslim woman in contemporary America. Orphaned as a child, Fatimah Asghar grapples with coming of age and navigating questions of sexuality and race without the guidance of a mother or father. These poems at once bear anguish, joy, vulnerability, and compassion, while also exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests itself in our relationships. In experimental forms and language both lyrical and raw, Asghar seamlessly braids together marginalized people's histories with her own understanding of identity, place, and belonging.
In this highly lyrical, imagistic debut, Marcelo Hernandez Castillo creates a nuanced narrative of life before, during, and after crossing the US/Mexico border. These poems explore the emotional fallout of immigration, the illusion of the American dream via the fallacy of the nuclear family, the latent anxieties of living in a queer brown undocumented body within a heteronormative marriage, and the ongoing search for belonging. Finding solace in the resignation to sheer possibility, these poems challenge us to question the potential ways in which two people can interact, love, give birth, and mourn--sometimes all at once.
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.
Long, lyrical lines map a geography of interconnected, interdimensional intelligence that exists in all places and sentient beings. These are poems of deep listening and patient waiting, open to the cosmic loom, the channeling of daily experience and conversation, gestalt and angels, dolphins and a star-visitor beneath a tree. Family, too, becomes a type of constellation, a thought "a form of organized light." All of our sense are activated by Berssenbrugge's radiant lines, giving us a poetry of keen perception grounded in the physical world, where "days fill with splendor, and earth offers its pristine beauty to an expanding present."
On April 20, 2010, nine Latino students chained themselves to the main doors of the Arizona State Capitol in an act of civil disobedience to protest Arizona's SB 1070. Moved by the students' actions, that same day Francisco X. Alarcón responded by writing a poem in Spanish and English titled "Para Los Nueve del Capitolio/ For the Capitol Nine," which he dedicated to the students. The students replied to the poem with a collective online message. To share with the world what was taking place, Alarcón then created a Facebook page called "Poets Responding to SB 1070" and posted the poem, launching a powerful and dynamic forum for social justice. Since then, more than three thousand original contributions by poets and artists from around the globe have been posted to the page. Poetry of Resistance offers a selection of these works, addressing a wide variety of themes, including racial profiling, xenophobia, cultural misunderstanding, violence against refugees, shared identity, and much more. Contributors include distinguished poets such as Francisco Aragón, Devreaux Baker, Sarah Browning, Lorna Dee Cervantes, Susan Deer Cloud, Sharon Dubiago, Martín Espada, Genny Lim, Pam Uschuk, and Alma Luz Villanueva. Bringing together more than eighty writers, the anthology powerfully articulates the need for change and the primacy of basic human rights. Each poem shows the heartfelt dedication these writers and artists have to justice in a world that has become larger than borders. Poetry of Resistance is a poetic call for tolerance, reflection, reconciliation, and healing.
Hip-Hop is the largest youth culture in the history of the planet rock. This is the first poetry anthology by and for the Hip-Hop generation. It has produced generations of artists who have revolutionized their genre(s) by applying the aesthetic innovations of the culture. The BreakBeat Poets features 78 poets, born somewhere between 1961-1999, All-City and Coast-to-Coast, who are creating the next and now movement(s) in American letters. The BreakBeat Poets is for people who love Hip-Hop, for fans of the culture, for people who've never read a poem, for people who thought poems were only something done by dead white dudes who got lost in a forest, and for poetry heads. This anthology is meant to expand the idea of who a poet is and what a poem is for. The BreakBeat Poets are the scribes recording and remixing a fuller spectrum of experience of what it means to be alive in this moment. The BreakBeat Poets are a break with the past and an honoring of the tradition(s), an undeniable body expanding the canon for the fresher.
Jericho Brown's daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown's poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we've become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown's mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.
A haunting debut that is simultaneously dreamlike and visceral, vulnerable and redemptive, and risks the painful rewards of emotional honesty. Ocean Vuong's first full-length collection aims straight for the perennial "big"--and very human--subjects of romance, family, memory, grief, war, and melancholia. None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.
In her new poetry collection, Evie Shockley mobilizes visual art, sound, and multilayered language to chart routes towards openings for the collective dreaming of a more capacious "we." How do we navigate between the urgency of our own becoming and the imperative insight that whoever we are, we are in relation to each other? Beginning with the visionary art of Black women like Alison Saar and Alma Thomas, Shockley's poems draw and forge a widening constellation of connections that help make visible the interdependence of everyone and everything on Earth. perched i am black, comely, a girl on the cusp of desire. my dangling toes take the rest the rest of my body refuses. spine upright, my pose proposes anticipation. i poise in copper-colored tension, intent on manifesting my soul in the discouraging world. under the rough eyes of others, i stiffen. if i must be hard, it will be as a tree, alive with change. inside me, a love of beauty rises like sap, sprouts from my scalp and stretches forth. i send out my song, an aria blue and feathered, and grow toward it, choirs bare, but soon to bud. i am black and becoming. --after Alison Saar's Blue Bird
Milk Black Carbon works against the narratives of dispossession and survival that mark the contemporary experience of many indigenous people, and Inuit in particular. In this collection, autobiographical details -- motherhood, marriage, extended family and its geographical context in the rapidly changing Arctic -- negotiate arbitrary landscapes of our perplexing frontiers through fragmentation and interpretation of conventional lyric expectations.
In her debut collection, Monica Sok uses poetry to reshape a family's memory about the Khmer Rouge regime—memory that is both real and imagined—according to a child of refugees. Driven by myth-making and fables, the poems examine the inheritance of the genocide and the profound struggles of searing grief and PTSD. Though the landscape of Cambodia is always present, it is the liminal space, the in-betweenness of diaspora, in which younger generations must reconcile their history and create new rituals. A Nail the Evening Hangs On seeks to reclaim the Cambodian narrative with tenderness and an imagination that moves towards wholeness and possibility.
#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.
From the current phenomenon of drawing calligraphy with water in public parks in China to Thomas Jefferson laying out dinosaur bones on the White House floor, from the last sighting of the axolotl to a man who stops building plutonium triggers, Sight Lines moves through space and time and brings the disparate and divergent into stunning and meaningful focus. In this new work, Arthur Sze employs a wide range of voices--from lichen on a ceiling to a man behind on his rent--and his mythic imagination continually evokes how humans are endangering the planet; yet, balancing rigor with passion, he seizes the significant and luminous and transforms these moments into riveting and enduring poetry. "These new poems are stronger yet and by confronting time head on, may best stand its tests." âe*Lit Hub "The wonders and realities of the world as seen through travel, nature walks, and daily routine bring life to the poems in Sight Lines." âe*Library Journal
For prize-winning poet Tiana Clark, trees will never be just trees. They will also and always be a row of gallows from which Black bodies once swung. This is an image that she cannot escape, but one that she has learned to lean into as she delves into personal and public histories, explicating memories and muses around race, elegy, family, and faith by making and breaking forms as well as probing mythology, literary history, her own ancestry, and, yes, even Rihanna. I Can't Talk About the Trees without the Blood, because Tiana cannot engage with the physical and psychic landscape of the South without seeing the braided trauma of the broken past--she will always see blood on the leaves.
In this highly lyrical, imagistic debut, Marcelo Hernandez Castillo creates a nuanced narrative of life before, during, and after crossing the US/Mexico border. These poems explore the emotional fallout of immigration, the illusion of the American dream via the fallacy of the nuclear family, the latent anxieties of living in a queer brown undocumented body within a heteronormative marriage, and the ongoing search for belonging. Finding solace in the resignation to sheer possibility, these poems challenge us to question the potential ways in which two people can interact, love, give birth, and mourn--sometimes all at once.
Winner of the Kenyon Review Earthworks Prize for Indigenous Poetry, Tiffany Midge deftly weaves Plains Indian myths into the present day and seeks to define love, the nature of desire, and identity in the twenty-first century. The book includes a series of poems, each titled "Considering Wakantanka," that connect the themes throughout the book. The Woman Who Married a Bear showcases the wholly individual voice of a talented poet.
In ancient fertility carvings, artists would drill holes into the woman's body to signify penetrability, which is the basis of Autobiography of a Wound: allowing those wounds and puncture marks to speak through the fertility figures. The wounds are chronicled through letters and poems addressed to F (F stands for the fertility carvings themselves, which are being addressed as one unified deity), and A (Aphrodite, who is being referenced as a general deity of womanhood, a figurine that reappears throughout the poems, and a symbol that is referenced or portrayed in almost every fertility figurine or carving). Autobiography of a Wound reconstructs the narrative surrounding female pathos and the idea of the hysteric girl.
In Bodymap, Lambda Award-winner Leah Lakshmi Piepzna-Samarasinha sings a queer disabled femme-of-colour love song filled with hard femme poetics and disability justice. In this volume, Leah Lakshmi maps hard and vulnerable terrains of queer desire, survivorhood, transformative love, sick and disabled queer genius and all the homes we claim and deserve.
How can a search for self+'knowledge reveal art as a site of community? Yanyi's arresting and straightforward poems weave experiences of immigration as a Chinese American, of racism, of mental wellness, and of gender from a queer and trans perspective. Between the contrast of high lyric and direct prose poems, Yanyi invites the reader to consider how to speak with multiple identities through trauma, transition, and ordinary life. These poems constitute an artifact of a groundbreaking and original author whose work reflects a long journey self+'guided through tarot, therapy, and the arts. Foregrounding the power of friendship, Yanyi's poems converse with friends as much as with artists both living and dead, from Agnes Martin to Maggie Nelson to Robin Coste Lewis. This instructive collection gives voice to the multifaceted humanity within all of us and inspires attention, clarity, and hope through art-making and community.
Depending on dialect, the Anishinaabemowin word "weweni" expresses thanks, exactitude, ease, and sincerity. In addition, the word for "relatives" is "nindenwemaaganag": those whose "enewewe," or voices, sound familiar. In Weweni, poet Margaret Noodin brings all of these meanings to bear in a unique bilingual collection. Noodin's warm and perceptive poems were written first in the Modern Anishinaabemowin double-vowel orthography and appear translated on facing pages in English. From planetary tracking to political contrasts, stories of ghosts, and messages of trees, the poems in Weweni use many images to speak to the interconnectedness of relationships, moments of difficulty and joy, and dreams and cautions for the future. As poems move from Anishinaabemowin to English, the challenge of translation offers multiple levels of meaning--English meanings found in Anishinaabe words long as rivers and knotted like nets, English approximations that bend the dominant language in new directions, and sets of signs and ideas unable to move from one language to another. In addition to the individual dialogues played out beween Noodin's poems, the collection as a whole demonstrates a fruitful and respectful dialogue between languages and cultures. Noodin's poems will be proof to students and speakers of Anishinaabemowin that the language can be a vital space for modern expression and, for those new to the language, a lyric invitation to further exploration. Anyone interested in poetry or linguistics will enjoy this one-of-a-kind volume.
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.
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