Poetry

The anticipated follow up to poyums, from a singular voice in modern Scots poetry 

"A second, blistering collection that confronts patriarchy, gender-based violence and societal injustice with tenderness, a jousting wit and not a little righteous fury"—Caroline Sanderson, The Bookseller 

THE INSTANT SUNDAY TIMES BESTSELLER

There isn't a timescale for how you should heal

Your bad days are valid, your heartache is real

But so is the day that your smile will return

That fire within you continues to burn

You will overcome this and continue to thrive

You are here, you are loved, you are whole, you're alive.

A formidable follow up to her award-winning debut poetry collection, Len Pennie's poyums annaw is just like her: defiant, angry and trailblazing. These poems are a call to arms, confronting ideas of patriarchy, gender-based violence and societal injustice with equal parts tenderness, quick-wit and righteous fury. poyums annaw firmly cements Len as a defining voice in contemporary Scots poetry.

Blood Flower is a masterful exploration of resilience, love, and the echoes of history, set against the stark beauty of nature and the sharp edges of human conflict. Pamela Uschuk’s poetry weaves a tapestry of intimate personal struggles and broader societal turmoil. Her vivid language captures the visceral textures of life—from the Siberian tundra to family kitchens—and transforms pain, loss, and longing into transcendent art.

With themes ranging from the oppressive silences of political exile to the haunting legacies of war, Blood Flower is a poignant tribute to the enduring power of the human spirit. Uschuk’s voice, sharp as a wolf’s howl and tender as a lover’s whisper, invites readers to confront both the scars of the past and the fragile hope of renewal. This is a collection for anyone who dares to seek beauty in the ashes and strength in vulnerability.

Hurricane Sisters, award-winning poet Ginger Andrews’ second collection, contains poems of fierce candor and sharp, unique awareness from the perspective of Andrews herself, a cleaning woman in North Bend, Oregon. These Carver-esque insights into the everyday of the American working class balance grief, depression, lust, poverty, and, above all, faith; not in something beyond or higher than the living experience, but in a spirituality amidst the material truths of this world, even under the grimmest of circumstances. Hurricane Sisters stares into the holy, the barbaric, the beautiful and the hideous, the realities of blue-collar Americana, with the frankness and empathy of a survivor and a believer. It sees everything and never averts its eyes.

"The presiding spirit behind Ginger Andrews first book, An Honest Answer, must be William Carlos Williams. When he said he wrote in the speech of Polish mothers, he could have included the American working class anywhere. The sinewy resilience in Andrews’ individual poems honors the tradition of his free verse lyrics. She listens for the poetic measure in American speech and reproduces it in unique forms. I would venture to say that the poetry of Ginger Andrews is as close to the tradition of Williams as American free verse has ever been. . . . As for the voice speaking to us in these poems, it is as fresh as Ray Carver seemed twenty-five years ago. Another poet who comes to mind is her fellow Northwesterner Vern Rutsala, himself a descendent of Williams, who, like Williams, has kept his eye on the working poor throughout his career. Andrews is working class, born again in Sappho, an Ahkmatova who cleans houses and teaches Sunday school. These figures come to mind not for the sake of hyperbole, but to help understand the originality of this new and remarkable poet."
—Mark Jarman

The precise gaze and chiseled language of the poems in Oldest Mortal Myth authoritatively convey a broad and deep knowledge. Whether a reimagining a Greek myth in order to infuse it with a contemporary pain, extending empathy and humorous Mitmenschkeit to both denizens and voyeurs of the world's freakshows, or describing with wit and experience the spiritual affects of medical conditions, the book is infused with restrained but piercing emotion, a subtle metrical ear, and enough daring and wit to write in rhymed couplets to take the obvious, easy way. For instance, with the last line of “De Wallen, Amsterdam”: “The moon above the spires, a sexless disk,/eyes us coolly as an odalisque.” I so admire the refusal to make that last line scan as a perfect iambic pentameter line. It would be so easy; all you’d have to do is add the grammatical, but colloquial, “as.” Which would have ruined the line, and the poem. Oh, and the rhymes in the canzone! There’s much to admire here, much to enjoy.
—Marilyn Nelson

Women Are People! (1917) is a collection of poems by Alice Duer Miller. Inspired by her work as an activist for women’s suffrage, Miller published many of these poems individually in the New York Tribune before compiling them into this larger work. Focusing on the opposition of politicians and citizens alike, Miller makes a compelling and frequently hilarious case for the extension of voting rights to women across the nation. With her keen eye for hypocrisy and even keener ear for the rhythms of the English language, Alice Miller Duer crafts a poetry both personal and political. In “Liberty,” she lampoons the hypocrisy of men who praise the goddess of Liberty while denying women access to basic human rights: “O Liberty, how many men there are / Who do you honour in a flowing phrase, / In martial measures and in patriot lays, / Invoking you as a goddess and as star/ […] / But when you first approach them, when you turn / On their pale eyes your eyes’ unwavering light, / […] / They fly before you, crying in their fright: / ‘Arrest this wild-eyed jade! Police! Police!’” In these lighthearted lines, Miller satirizes the exclusion of women from American democracy. Succinctly and convincingly, with humor and with lyric grace, Miller makes her case for suffrage and the rights of women very clear. As she expresses in her ironic title, women are indeed people—despite the lengths to which they must repeatedly go to prove it. This edition of Alice Duer Miller’s Women Are People! is a classic of American literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Sword Blades and Poppy Seed (1914) is a poetry collection by Amy Lowell. Published at the beginning of her career as an influential imagist devoted to classical poetic themes and forms, Sword Blades and Poppy Seed is an agile and promising work from a pioneering poet of the early twentieth century. The title poem of Lowell’s collection is an imaginative voyage into the mind of a poet struggling with writer’s block, who scans the city for “the slightest tinge of gold” to no avail: “From time to time I wrote a word / Which lines and circles overscored. / My table seemed a graveyard, full / Of coffins waiting burial.” Disgusted with her inability to write anything meaningful, she takes the streets, encountering a strange old man—part poppy dealer, part devil—who offers success in exchange for the poet’s soul. Personal and public, keenly engaged with tradition—the Faustian legend, in particular—while maintaining her own private voice, Lowell’s poems are an essential contribution to one of humanity’s oldest art forms. Sword Blades and Poppy Seed is a vibrant collection from an emerging poet who would come to define the imagist movement throughout her storied career. This edition Amy Lowell’s Sword Blades and Poppy Seed is a classic work of American poetry reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

A Dome of Many-Coloured Glass (1912) is a poetry collection by Amy Lowell. Published at the beginning of her career as an influential imagist devoted to classical poetic themes and forms, A Dome of Many-Coloured Glass is an agile and promising work from a pioneering poet of the early twentieth century. Containing lyric poems, sonnets, verses for children, and a masterful long poem, A Dome of Many-Coloured Glass is a vibrant collection from an emerging poet who would come to define the imagist movement throughout her storied career. In poems like “Azure and Gold,” Lowell displays natural imagery intertwined with the play of words, producing such stanzas as “April had covered the hills / With flickering yellows and reds, / The sparkle and coolness of snow / Was blown from the mountain beds.” From the drama inherent to seasonal change, she extracts a revelation from “the song of birds, / Who, swinging unseen under leaves, / Made music more eager than words.” In “The Boston Athenaeum,” a masterful long poem on one of the oldest libraries in the United States, she recalls “Long, peaceful hours seated on the floor / Of some retired nook, all lined with books, / Where reverie and quiet reign supreme!” Personal and public, keenly engaged with tradition while maintaining her own private voice, Lowell’s poems are an essential contribution to one of humanity’s oldest art forms. This edition Amy Lowell’s A Dome of Many-Coloured Glass is a classic work of American poetry reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Men, Women, and Ghosts (1916) is a poetry collection by Amy Lowell. Published at the beginning of her career as an influential imagist devoted to classical poetic themes and forms, Men, Women, and Ghosts is an agile and promising work from a pioneering poet of the early twentieth century. In “Patterns,” the collection’s opening poem, Lowell displays an economy of language and clarity of vision that would define the imagist school, in which she would prove an essential figure: “I walk down garden paths, / And all the daffodils / Are blowing, and the bright blue squills. / […] / I too am a rare / Pattern. As I wander down / The garden paths.” As the speaker of the poem laments the loss of her lover, she remarks: “the man who should loose me is dead, / Fighting with the Duke in Flanders, / In a pattern called a war. / Christ! What are patterns for?” As a poet indebted to tradition and yet interested in the prospect of a modern poetry, as a lesbian and bohemian figure from a prominent Boston family, Lowell was keenly aware of the dangers inherent to “patterns.” Her poems, unique and experimental, are an essential contribution to one of humanity’s oldest art forms. Men, Women, and Ghosts is a vibrant collection from an emerging poet who would come to define the imagist movement throughout her storied career. This edition Amy Lowell’s Men, Women, and Ghosts is a classic work of American poetry reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

A collection full of comfort, vulnerability, rage and inspiration from one of the powerhouses of British poetry and award-winning novelist Salena Godden

With Love, Grief and Fury contains love poems, for people and the planet. Grief poems brimming with compassion, mourning what was and contemplating what could be. And poems of fire and fury that will kick some ass, tell the truth and inspire change and hope.

Over thirty years after she first stormed the UK poetry scene, the trailblazing and award-winning writer Salena Godden has produced her most audacious and definitive collection to date. Like a big sister's arm around your shoulder, With Love, Grief and Fury is important and nourishing for the soul.

And I have done more than just simply get by
So much more than escape or survive
Through the galvanisation of love, time and patience
I'll take hold of my story and thrive.
After life that was seldom what life ought to be
Through laughter and love I'll be whole
This story is mine from the cover to spine
And the narrative I will control


Whether she's writing letters to her younger self, advocating for women's rights or adapting fairy tales to process an abusive relationship, Len's voice is bold, unashamedly frank and unmistakably hers.

The poems in this collection, both funny and fiercely feminist, announce a formidable new talent. Moving deftly between English and Scots, poyums is as approachable as it is affecting.

Published seven years after her debut collection A Dome of Many-Coloured Glasses, Pictures of the Floating World (1919), is another dazzling volume of poetry from the Pulitzer Prize winning poet, Amy Lowell.

Divided into two sections; Pictures of the Floating World finds inspiration from both Japanese and Chinese poetry, with Lowell trying her hand at the hokku and Chinoiserie. In poems like “Reflections” and “Falling Snow,” Lowell paints delicate pictures of experiencing nature, with stanzas such as, “When I looked into your eyes / I saw a garden / With peonies, and tinkling pagodas / And round-arched bridges,” and, “The snow whispers about me / And my wooden clogs / Leave holes behind me in the snow / But no one will pass this way.” And in the second section, “Planes of Personality,” Lowell treads familiar ground with over a dozen lyrical poems, written just after the publication of her second collection, Sword Blades and Poppy Seed and up to April 1919.

With a beautifully designed cover and professionally typeset manuscript, this edition Amy Lowell’s Pictures of the Floating World is a classic work of American poetry reimagined for modern readers.

Are Women People? (1915) is a collection of poems by Alice Duer Miller. Inspired by her work as an activist for women’s suffrage, Miller published many of these poems individually in the New York Tribune before compiling them into this larger work. Focusing on the opposition of politicians and citizens alike, Miller makes a compelling case for the extension of voting rights to women across the nation. With her keen eye for hypocrisy and even keener ear for the rhythms of the English language, Alice Miller Duer crafts a poetry both personal and political. In “Representation,” she lampoons the notion that men’s votes and voices are capable of representing the viewpoints of the women in their lives: “My present wife’s a suffragist, and counts on my support, / […] / One grandmother is on the fence, the other much opposed, / And my sister lives in Oregon, and thinks the question’s closed; / Each one is counting on my vote to represent her view. / Now what should you think proper for a gentleman to do?” In these lighthearted lines, Miller satirizes the exclusion of women from American democracy, which inherently supposes that womanhood is monolithic, containing no opposing points of view. In “To President Wilson,” Miller excoriates the President for his focus on militarism and foreign policy, asking “How can you plead so earnestly for men / Who fight their own fight with a bloody hand; / […] and then / Forget the women of your native land?” Succinctly and convincingly, Miller makes her case for women’s suffrage. This edition of Alice Duer Miller’s Are Women People? is a classic of American literature reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

Published seven years after her debut collection A Dome of Many-Coloured Glasses, Pictures of the Floating World (1919), is another dazzling volume of poetry from the Pulitzer Prize winning poet, Amy Lowell.

Divided into two sections; Pictures of the Floating World finds inspiration from both Japanese and Chinese poetry, with Lowell trying her hand at the hokku and Chinoiserie. In poems like “Reflections” and “Falling Snow,” Lowell paints delicate pictures of experiencing nature, with stanzas such as, “When I looked into your eyes / I saw a garden / With peonies, and tinkling pagodas / And round-arched bridges,” and, “The snow whispers about me / And my wooden clogs / Leave holes behind me in the snow / But no one will pass this way.” And in the second section, “Planes of Personality,” Lowell treads familiar ground with over a dozen lyrical poems, written just after the publication of her second collection, Sword Blades and Poppy Seed and up to April 1919.

This edition Amy Lowell’s Pictures of the Floating World is a classic work of American poetry reimagined for modern readers.

Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book.

With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.

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.”

Writers across the globe speak out against sexual assault and abuse in this powerful new poetry anthology, edited by Sue Goyette

These collected poems from writers across the globe declare one common theme: resistance. By exploring sexual assault and violence in their work, each writer resists the patriarchal systems of power that continue to support a misogynist justice system that supports abusers. In doing so, they reclaim their power and their voice.

Created as a response to the Jian Ghomeshi case, writers including Joan Crate, Ashley-Elizabeth Best, and Beth Goobie are, as editor Sue Goyette explains, a “multitude, resisting.” The collection could not be more timely. The work adds a new layer to the ever-growing #MeToo movement.

Resistance underscores the validity of all women’s experiences, and the importance of dignifying such experiences in voice, however that may sound. Because once survivors speak out and disrupt their pain, there is no telling what else they can do.

Without Asking marks Jane Ransom’s debut as a book author, initially placing her within the poetic tradition of narrative Confessionalism. But one can already sense here the ambivalence that would lead both to a break from narrative—in her second poetry book, Scene of the
Crime—and her subsequent return to narrative in Bye-Bye, her first novel. This is a writer whose epistemological inquiry continuously turns both inward and outward, from linear to non-linear and back again, in an unrelenting quest for Truth.

Adele Slaughter’s first book of poems, What the Body Remembers, was published by Story Line Press in 1994. It is an autobiographical collection of glimpses into a childhood fraught with familial violence, alcoholism, and trauma, and the life that has been led in its wake; the failure of a marriage and the experiences that forever mold us as human beings. Through all the abuse and suffering these poems portray, however, the driving theme behind What the Body Remembers never falters: the reader is left with an inspiring picture of courage, perseverance, femininity, and the survival of the truest self. The subject of the work remains always the poet, the speaker, even as great attention is drawn to the circumstance surrounding her, providing an impactful example of how our greatest pains may leave us changed, but not defined, and never defeated. Pat Monaghan called the book “a stunning debut volume.”

Scene of the Crime exposes the poet’s inner criminality, where matricide and mother tongue engage in diabolic discourse. Confessing her outlaw sexuality, Ransom grapples with feminist theory and disembowels postmodern philosophy. Delighting in the multiplicity of self, language and desire, Ransom fires puns dead-aimed to riddle any interpretive reduction.

Excontemporary, a collection of poems by Beth Baruch Joselow, was published by Story Line Press in 1993. Jousting with form and language, the book combines image and idea in a painterly style. It contains poetry of sharp observation, coalescing gracefully into a thoughtful meditation on the inner life and the everyday. Mark Wallace, winner of the Gertrude Stein Prize in poetry, was among many that met Excontemporary with high praise: “Joselow’s poems discover, and uncover, keen truths that always surprise and unsettle and make us think again about things we believed we understood.”

Breath in Every Room intertwines parents and children with encounters in the natural world. Ranging from birds in the forest to a boy’s captured frogs, from rattlesnakes in the prairie to a bat fallen from the sky. The book weaves in and out of myth and dream.

Sharon Hashimoto explores themes of what is heard and misinterpreted, what is left unexplained, and what is passed down in The Crane Wife. In these pieces, the Sansei poet leafs through old photographs—one of which is of a newlywed couple with the groom’s image cut away. Here is the rediscovered piece of barbed wire from outside the Heart Mountain concentration camp. That wire, a lei, and a car trip to an empty lot are all bits of evidence. Her questions address grandparents, mother and father, siblings, and the next generation. Hashimoto also reinvents Japanese folk tales and explores the different voices of the members of a downed JAL jet. Her poems travel in new directions in an attempt to fill in the gaps.

The poems in Lisa C. Krueger’s Talisman interrogate the everyday expression of complex human emotions. In psychological portraits stunning in their precision, Krueger brings her observational powers to bear on the domestic and its darknesses—childbirth, play, sex, and family picnics, as well as abuse, disability, adultery, and mental illness. We see how intimacy is laced with uncertainty, how the bonds between us can be a form of bondage. Life’s long arc is considered, from the early developmental stages of attachment and individuation to the existential dramas of purpose and meaning in middle and old age. What emerges is a study in the mystery of survival, in how we move beyond the broken places in ourselves. These poems magnify small, everyday redemptions as signs—talismans—of human potential, and ask us to think about our choices, to use language as a force to press against truth.

Diamond Sharp’s Super Sad Black Girl is a love letter to her hometown of Chicago, where her speaker finds solace and community with her literary idols in the hopes of answering the question: What does it look like when Black women are free? 

Lorraine Hansberry and Gwendolyn Brooks appear throughout, counseling the speaker as she navigates her own depression and exploratory questions about the “Other Side,” as do Sandra Bland, Rekia Boyd, and other Black women who have been murdered by police violence. 

Sharp’s poetry is self-assured, playful, and imaginative, reminiscent of Langston Hughes with its precision and brevity. The book explores purgatorial, in-between spaces that the speaker occupies, as she struggles to find a place, a time, where she can live safely and freely. With her skillful use of repetition, particularly with her series of concrete poems, lines and voices echo across the book so the reader, too, feels suspended within Sharp’s lyric moments. Super Sad Black Girl is a compassionate and ethereal depiction of mental illness from a promising and powerful poet.

Crossfire collects Staceyann Chin's empowering, feminist-LGBTQ-Caribbean, activist-driven poetry for the first time in a single book. According to The New York Times, Chin is “sassy, rageful and sometimes softly self-mocking.” The Advocate says that her poems, “combine hilarious one-liners with a refusal to conform” and note “Chin is out to confront more than just the straight world.”

At last recovered in this enriching annotated edition, this important but neglected work of American modernism offers a unique poetic encounter with the Jewish communities in New York’s Lower East Side.

Long forgotten on account of her gender and left-wing politics, Lola Ridge is finally being rediscovered and read alongside such celebrated contemporaries as Hart Crane, William Carlos Williams, and Marianne Moore—all of whom knew her and admired her work. In her time Ridge was considered one of America’s leading poets, but after her death in 1941 she and her work effectively disappeared for the next seventy-five years. Her book The Ghetto and Other Poems, is a key work of American modernism, yet it has long, and unjustly, been neglected. When it was first published in 1918—in an abbreviated version in The New Republic, then in full by B. W. Huebsch five months later—The Ghetto and Other Poems was a literary sensation. The poet Alfred Kreymbourg, in a Poetry Magazine review, praised “The Ghetto” for its “sheer passion, deadly accuracy of versatile images, beauty, richness, and incisiveness of epithet, unfolding of adventures, portraiture of emotion and thought, pageantry of pushcarts—the whole lifting, falling, stumbling, mounting to a broad, symphonic rhythm.” Louis Untermeyer, writing in The New York Evening Post, found “The Ghetto” “at once personal in its piercing sympathy and epical in its sweep. It is studded with images that are surprising and yet never strained or irrelevant; it glows with a color that is barbaric, exotic, and as local as Grand Street.”

The long title poem is a detailed and sympathetic account of life in the Jewish Ghetto of New York’s Lower East Side, with particular emphasis on the struggles and resilience of women. The subsequent section, “Manhattan Lights,” delves further into city life and immigrant experience, illuminating life in the Bowery. Other poems stem from Ridge’s lifelong support of the American labor movement, and from her own experience as an immigrant. This critical edition seeks to recover the attention The Ghetto, and Other Poems, and in particular the title poem, lost after Ridge’s death. The poems in the volume are as aesthetically strong as they are historically revealing. Their language combines strength and directness with startling metaphors, and their form embraces both panoramic sweep and lyrical intensity.

Expertly edited and annotated by Lawrence Kramer, this first modern edition to reproduce the full 1918 publication of The Ghetto and Other Stories offers all the background and context needed for a rich, informed reading of Lola Ridge’s masterpiece.

Late in the Day, Ursula K. Le Guin’s newest collection of poems, seeks meaning in an ever-connected world. In part evocative of Neruda’s Odes to Common Things and Mary Oliver’s poetic guides to the natural world, Le Guin gives voice to objects that may not speak a human language but communicate with us nevertheless through and about the seasonal rhythms of the earth, the minute and the vast, the ordinary and the mythological.

As Le Guin herself states, “science explicates, poetry implicates.” Accordingly, this immersive, tender collection implicates us (in the best sense) in a subjectivity of everyday objects and occurrences. Deceptively simple in form, the poems stand as an invitation both to dive deep and to step outside of ourselves and our common narratives. As readers, we emerge refreshed, having peered underneath cultural constructs toward the necessarily mystical and elemental, no matter how late in the day.

The poems are bookended with two short essays, “Deep in Admiration” and “Form, Free Verse, Free Form: Some Thoughts.”

In 2014, the National Book Foundation awarded Le Guin the Medal for Distinguished Contribution to American Letters, a lifetime achievement award. Her celebrated acceptance speech, which criticized Amazon as a “profiteer” and praised her fellow authors of fantasy and science fiction, is included in Late in the Day as a postscript.