Poetry

*Selected as a Top 10 Must-Read Book About Antarctica by the International Association of Antarctic Tour Operators

Poet-naturalist Elizabeth Bradfield’s fourth collection, Toward Antarctica, documents and queries her work as a guide on ships in Antarctica, offering an incisive insider’s vision that challenges traditional tropes of The Last Continent. Inspired by haibun, a stylistic form of Japanese poetry invented by 17th-century poet, Matsuo Bashō to chronicle his journeys in remote Japan, Bradfield uses photographs, compressed prose, and short poems to examine our relationship to remoteness, discovery, expertise, awe, labor, temporary societies, “pure” landscapes, and tourism’s service economy. Antarctica was the focus of Bradfield’s Approaching Ice, written before she had set foot on the continent; now Toward Antarctica furthers her investigation with boots on the ground. A complicated love letter, Toward Antarctica offers a unique view of one of the world’s most iconic wild places.

Strand’s mystical poems to Ma Kali, the Dark Goddess of India, as occasioned by his encounters with the material dealt in depth in both Waking Up to the Dark and the Way of the Rose.

“A treasure of mystical poetry, these poems pulsate with truth.” —Carolyn Myss, author of Intimate Conversations with the Divine and Anatomy of the Spirit

In the early hours of June 16, 2011, Clark Strand witnessed a startling apparition of the Divine Feminine in the form of a young woman with an X of black electrical tape over Her mouth. Strand removed the tape, and She began to speak of a coming age of chaos and collapse in which the world of humankind would be severely chastened so that Her world—the world of Nature—could be renewed. Overwhelmed by the presence of One so fully Other, Strand found that love was the only language that would suffice. Drawing inspiration from Song of Songs and the Bengali mystics Ramprasad and Sri Ramakrishna, he began a series of poems to Ma Kali, the Dark Goddess of India, the words to which often came from the Great Mother Herself.

Frank, eye-opening writing by "arts in corrections" educators

Poetry and prose by artists, writers, and activists who’ve taught workshops in U.S. criminal legal institutions, including acclaimed writers Ellen Bass, Joshua Bennett, Jill McDounough, E. Ethelbert Miller, Idra Novey, Joy Priest, Paisley Rekdal, Christopher Soto, and Michael Torres; the late arts in corrections pioneers Buzz Alexander and Judith Tannenbaum; and Guggenheim Award-winning choreographer Pat Graney. These educators demonstrate a diverse range of experiences. Among the questions they ask: Does our work support the continuation or deconstruction of a mass incarcerating society? What led me to teach in prison? How do I resist the “savior” or “helper” narrative? A book for anyone seeking to understand the prison industrial complex from a human perspective. All author royalties from this book will be donated to Dances for Solidarity, a project that brings arts opportunities to people incarcerated in solitary confinement.

AUTHOR OF THE PULITZER PRIZE AND NATIONAL BOOK AWARD WINNER, JAMES

AUTHOR OF ERASURE, now adapted for the screen as the OSCAR-WINNING FILM, AMERICAN FICTION

Percival Everett is diving back into poetry with his spellbinding new collection, SONNETS FOR A MISSING KEY

“Few writers pay more rapt attention to the fact that history is, fundamentally, storytelling. … A pebble in every shoe. It’s the Everett way.”—New York Times

Inspired by the Preludes of Chopin and the piano solos of Art Tatum, these sonnets leap and turn through philosophical musings accrued across a life well lived, with inventive language, crystalline imagery, and turns of phrase that lift off the page and glimmer. Everett’s sonnets soar through the musical scale, from A Minor to A Major, exploring relationships, spirituality, compassion, despair, and how the stories we tell ourselves shape our realities.

Everett continuously defies convention with every creative expression and brings his literary audacity back to his poetic roots with this, his sixth collection with Red Hen Press.

Sonnets for a Missing Key is a mesmerizing feat of language that reinforces Percival Everett as one of the great wordsmiths of the century.

In her mesmerizing sixth poetry collection, Blood Wolf Moon, Elise Paschen weaves constellations throughout, of stars and birds and light and darkness and beauty and horror and nature and humans and history, making shape and meaning of what’s around us and even who we are.

In this riveting sixth poetry collection, Paschen explores the story lines of her Osage heritage. The core of the book grapples with a dark period of American history, “The Reign of Terror,” when outsiders murdered individual members of the Osage for their oil headrights. Paschen searches her cultural past and family history in poems about the land, ancestors, childhood, loss, nature, transformation, flight and language. In this cinematic book, she builds drama in overlapping narratives, reinventing ways to approach the line on the page. Described by poet Timothy Donnelly as “one of today’s most formally astute poets,” Paschen opens Blood Wolf Moon with the long poem, “Heritage,” a bracelet of crown poems, then shifts registers to formal poems and prose sequences. Poet and editor Ester Belin calls the concluding poems with their use of Osage language, “significant leaps into literary sovereignty.” Blood Wolf Moon Captivates with its emotional intensity and unrelenting quest for the translation of identity. It’s a book you can’t put down.

This collection consists of odes to the Mexican American, first-gen experience as well as surreal prose poems with cultural references and settings native to the Los Angeles area.

The collection opens with odes to everyday images and symbols of the Latinx community. In an age of elevated racism, these odes seek to celebrate Latinx culture in the face of constant scapegoating, ridicule, and surveillance. Also, this collection explores surreal prose poetry both in the suburbs and barrios of Los Angeles and the larger American landscape. “A future prizewinner,” according to former US Poet Laureate Juan Felipe Herrera, this collection seeks to celebrate the Mexican American experience while also exploring how surrealism and absurdism can lead to wondrous discoveries about the self, community, and the imagination.

Scenes from Arabian life at the turn of the twentieth century

Arabian Romantic captures what it was like to live in central Arabia before the imposition of austere norms by the Wahhabi authorities in the early twentieth century: tales of robbery and hot pursuit; perilous desert crossings; scenes of exhaustion and chaos when water is raised from deep wells under harsh conditions; the distress of wounded and worn-out animals on the brink of perdition; once proud warriors who are at the mercy of their enemy on the field of battle. Such images lend poignancy to the suffering of the poet’s love-stricken heart, while also painting a vivid portrait of typical Bedouin life.

Ibn Sbayyil, a town dweller from the Najd region of the Arabian Peninsula, was a key figure in the Nabaṭī poetic tradition. His poetry, which is still recited today, broke with the artifice of the preceding generation by combining inherited idiom and original touches reflecting his environment. Translated into English for the first time by Marcel Kurpershoek, Arabian Romantic will delight readers with a poetry that is direct, fluent, and expressive, and that has entertained Arabic speakers for over a century.

An English-only edition.

In Self Portrait of Icarus as a Country on Fire, Jason Schneiderman confronts the rise of extremism and antisemitism in the United States while grappling with the end of his marriage and finding his feet as a newly single gay man.

Following up on his landmark collection Hold Me Tight, Jason Schneiderman extends his personal and historical explorations in Self Portrait of Icarus as a Country on Fire. Schneiderman’s signature sense of humor works as a connective tissue across the book, even as the juxtapositions become more unlikely (Kafka and Hillary Clinton?), the historical scope becomes wider, and the personal revelations cut deeper than ever before. These poems represent Schneiderman’s most direct and explicit exploration of Jewish heritage and history, bringing to the surface a theme that has often been missed in his work. The strength of these poems is in their power to trace the wound as a form of healing, to confront the agonizing in order to make way for joy and, yes, love.

night myths • • before the body is an ecofeminist interrogation of identity, vulnerability, and relationship that dismantles the boundaries between the body and the natural world to reclaim expressions of power and womanhood.

What are the stories we tell our bodies about our bodies? What are the myths we tell ourselves about ourselves? night myths • • before the body illuminated the dichotomies contemporary women grapple with every day: identity and expectation, self-preservation and doubt, freedom and entrapment, wildness and cultivation. By dissolving the boundaries between the body and the natural world, Abi Pollokoff’s evocative debut deconstructs the essence of womanhood, carrying the reader into a communing at once vulnerable and insistent. night myths • • before the body is a resounding interrogation of being human in a posthuman world.

AUTHOR OF AWARD-WINNING I WAS A BELL

M. Soledad Caballero explores the complexities of the body, delving into themes such as cancer, memory, and love in a lyrical collection of poems you won’t want to miss.

“This stunning book is an elegy for the body before, an ode for the body after.”–Carmen Giménez, author of Be Recorder

“Masterfully uses visceral language and vivid imagery to hold space for both sorrow and hope, beauty and pain, the light and the dark, the water and the land.”–Jasminne Mendez, author of City Without Altar

In this inventive collection, cancer transforms the body, art ignites healing, and faith is a restless vexation.

Flight Plan charts the trajectories of bodies and birds, navigating the dynamic interplay of past, present, and what happens in the in-between. These lyrical poems map the aftermaths of cancer, the varied routes of migration, and the geographies of memory. They document stories of love and its legacies, personal, familial, and national. They reject reductive diagnoses and soar and hunt with birds of prey. In this inventive collection, cancer transforms the body, art ignites healing, and faith is a restless vexation. M. Soledad Caballero urges us to remember that women’s aging bodies are evocative, that disease is a hungry creature, and that the interstices of blood and flesh are universes teeming with possibility.

As the Sky Begins to Change is a book of poems to wake the world, lyric anthems for earth and kin.

In his third poetry collection from Red Hen Press, Kim Stafford gathers poems that sing with empathy, humor, witness, and story. Poems in this book have been set to music, quoted in the New York Times, posted online in the Academy of American Poets Poem-a-Day series, gathered in a chapbook sold to benefit Ukrainian refugees, posted online in response to Supreme Court decisions, composed for a painter’s gallery opening, and in other ways engaged with a world at war with itself, testifying for the human project hungry for kinship, exiled from bounty, and otherwise thirsting for the oxygen of healing song.

A rich anthology of pre-Islamic and early Islamic poetry on the beauties and perils of the hunt

In the poems of Fate the Hunter, many of them translated into English for the first time, trained cheetahs chase oryx, and goshawks glare from falconers’ arms, while archers stalk their prey across the desert plains and mountain ravines of the Arabian peninsula. With this collection, James E. Montgomery, acclaimed translator of War Songs by ʿAntarah ibn Shaddād, offers a new edition and translation of twenty-six early works of hunting poetry, or ṭardiyyāt. Included here are poems by pre-Islamic poets such as Imruʾ al-Qays and al-Shanfarā, as well as poets from the Umayyad era such as al-Shamardal ibn Sharīk. The volume concludes with the earliest extant epistle about hunting, written by ʿAbd al-Ḥamīd al-Kātib, a master of Arabic prose.

Through the eyes of the poet, the hunter’s pursuit of the quarry mirrors Fate’s pursuit of both humans and nonhumans and highlights the ambiguity of the encounter. With breathtaking descriptions of falcons, gazelles, and saluki gazehounds, the poems in Fate the Hunter capture the drama and tension of the hunt while offering meditations on Fate, mortality, and death.

An English-only edition.

Poems of love and battle by Arabia’s legendary warrior

From the sixth-century highlands of Najd in the Arabian peninsula, on the eve of the advent of Islam, come the strident cries of a legendary warrior and poet. The black outcast son of an Arab father and an Ethiopian slave mother, 'Antarah ibn Shaddad struggled to win the recognition of his father and tribe. He defied social norms and, despite his outcast status, loyally defended his people.

'Antarah captured his tumultuous life in uncompromising poetry that combines flashes of tenderness with blood-curdling violence. His war songs are testaments to his life-long battle to win the recognition of his people and the hand of 'Ablah, the free-born woman he loved but who was denied him by her family.

War Songs presents the poetry attributed to 'Antarah and includes a selection of poems taken from the later Epic of 'Antar, a popular story-cycle that continues to captivate and charm Arab audiences to this day with tales of its hero’s titanic feats of strength and endurance. 'Antarah’s voice resonates here, for the first time in vibrant, contemporary English, intoning its eternal truths: commitment to one’s beliefs, loyalty to kith and kin, and fidelity in love.

An English-only edition.

This harvest of poems is inspired by the plant medicine latent in Gossypium Herbeceum, or Cotton Root Bark, which was used by enslaved Black women to induce labor, cure reproductive ailments and end unwanted pregnancies. Through an arrangement of stories, secrets and memories experienced, read, heard, reimagined and remixed, gossypiin reckons with a peculiar yet commonplace inheritance of violation, survival and self-possession. In this way, Ra Malika Imhotep invites us to lean in and listen good as the text interrupts the narrative silence around sexual harm, sickness, and the marks they make on black femme subjectivity.

Within these pages, the poet is joined by a “sticky trickster-self” named Lil Cotton Flower who tells of their own origins and endings in the Black vernacular traditions of the griot and the gossip. Interspersed throughout the collection, Black feminist wisdoms and warnings meld with the poets own yearnings and Lil Cotton Flower’s tall tales.

Gossypiin is an offering towards the holding and healing of Black beings that exceed the confines of their own bodies.

Letters Written and Not Sent is the lifetime work of poet William Louis-Dreyfus, written over decades, culminating a passion for poetry, art and social justice. He passed away just days after the book was completed.

Like paperweights, his lyrics are both small and hefty. His subjects range from race relations to trees, from secrets to parenthood, from ideas of god to kissing, from sons and mothers to fate, and of course, to poetry itself. Never afraid of the big questions of why human beings are alive, and what hope and justice are for, Louis-Dreyfus could take decades to finish a poem. A perfectionist, a thinker, and always inspired by visual art, he fought with himself over how to say what he wanted to say best. Like the French-Uruguayan businessman poet Jules Supervielle, whom Louis-Dreyfus translated, he felt the tug of the financial world against the pull of the lyricism of poetry, and the division marked his life and sparked ideas for his finest poems. As the heart condition that seized him made it absolutely imperative, finishing Letters Written and Not Sent literally became a life-or-death matter. This is the book that he wished to send into the world.

AWARD-WINNING AUTHOR of CONFESSIONS OF A BAREFACED WOMAN

2022 ILLINOIS AUTHOR OF THE YEAR

Allison Joseph searches for home in her poetry collection, DWELLING

Dwelling is the latest collection from Allison Joseph, whose wise words, narrative passion, and lyrical intensity have made her a fan favorite with audiences of all ages. In Dwelling, Joseph is concerned with the inevitable search for home—as a woman, as a person of color, and as a poet. Her poems take on subjects from the serious and sublime to the humorous and ironic. Whatever her subject, Joseph is humane, humble, hilarious, and high-spirited. This poet goes wherever her imagination thrives—dwelling among us and beyond us.

In their hybrid debut collection Arrangements, Esther Kondo Heller creates stunning textual & visual language that escapes the page to utter and speak past the record, the archive, and the document.

Can words hold a note? Can language foam like a mouth? In their hybrid volume Arrangements, Esther Kondo Heller creates textual & visual language that escapes the page to utter and speak past the record, the archive, and the document. What arrangements exist between a mother and child? In listening to Black queer life in Berlin, Mombasa, and London the action of arranging becomes a means of sounding out a collective utterance of Black survival with joy amid grief, colonialism, medical racism, and loss. A revelatory debut volume, Arrangements collectively thinks with, amongst others, the works of Audre Lorde, May Ayim, Fred Moten, Raja Lubinetzki, NourbeSe Philip, Harryette Mullen, Diana Khoi Nguyen, Victoria Adukwei Bulley, Marvin Gaye, Taylor Johnson, and Octavia Rucker Gabrielle.

A two-person memoir that explores education, prison, possibility, and which children our world nurtures and which it shuns. At the books core are two stories that speak up for human imagination, spirit, and the power of art.

"A boy with no one to listen becomes a man in prison for life and discovers his mind can be free. A woman enters prison to teach and becomes his first listener. And so begins a twenty-five year friendship between two gifted writers and poets. The result is By Heart a book that will anger you, give you hope, and break your heart."
- Gloria Steinem

Judith Tannenbaum and Spoon Jackson met at San Quentin State Prison in 1985. For over two decades they have conferred, corresponded and sometimes collaborated, producing very different bodies of work resting on the same understanding: that human beings have one foot in darkness, the other in light.
In this beautifully crafted exploration, part memoir, part essay, Tannenbaum and Jackson consider art, education, prison, possibility, and which children our world nurtures and which it shuns. At the book's core are two stories that speak for human imagination, spirit, and expression.

Judith Tannenbaum is a nationally respected educator, speaker, and author. Among her books are the memoir, Disguised as a Poem: My Years Teaching Poetry at San Quentin; two books for teachers: Teeth, Wiggly as Earthquakes: Writing Poetry in the Primary Grades and (with Valerie Chow Bush) Jump Write In! Creative Writing Exercises for Diverse Communities, Grades 6-12; and six poetry collections. She currently serves as training coordinator with WritersCorps in San Francisco.

Born into a family of fifteen boys in Barstow, California, Spoon Jackson was sentenced to Life Without Possibility of Parole when he was twenty years old. Spoon discovered himself as a writer at San Quentin; played Pozzo in the prison's 1988 production of Waiting for Godot; and has written, published, and received awards for plays, poetry, novels, fairy tales, short stories, essays, and memoir during the more than thirty years he has been behind bars. His poems are collected in Longer Ago.

Through the creaking of bedazzled branches and the soft rustle of jeweled leaves, deciduous qween explores the queer world all around us—how we, like our environment, wear and shed different identities in our performance as human, as drag queen, as ancient tree. This collection reveals in the natural world those ephemeral moments which reflect our own truths and confront our fear of death, of loneliness, and of failure. With an air of Southern Gothic mysticism, the poet reflects on a childhood spent in Houston’s bayous, an adolescence rife with curiosity and shame, and a young adulthood marred by the loss of his mother. How do our bodies and minds find equilibrium as we learn to let go, yet long to remember? The title poem, “deciduous qween, I–V,” binds the collection in a five-part sequence, pondering those things that are lost in the seasons of our lives: teeth, antlers, body, shape, and leaf. And it’s those sharp edges of loss and the scars they leave behind that linger here, like bark stripped from a swaying willow, or a family bereft of its matriarch. 

Essential poems devoted to the power of language to pull us closer to Nature and each other.

In her sixth poetry collection, award-winning writer Alison Hawthorne Deming extends her exploration of the meanings of nature into the tensions of our political and ecological moment. Whether traveling to a biological field station in the Canadian Maritimes, ruins of the Temple at Delphi, community gardens in Havana, the Sonoran Desert’s spring bloom, or eruptions of violence in America, she finds in art healing reciprocities between beauty and devastation. The title refers to crops that grow on farmland in North Dakota where our subterranean nuclear missiles await deployment in their silos. The image epitomizes the tensions that underlie our ordinary days. And yet in these poems she finds “light having an edge over darkness.” Poet and naturalist, celebrant and elegist, Deming’s poems pay homage to “every organism’s joy to thrive,” every poem an act of defiance against human cruelty.

“Jasmine Reid writes a shapeful, theoretical work involved in the rigorous attending to emergent selves and the languages made in calling them into being.” —aracelis girmay

Interlocutor Goddess explores the creation of a trans language for selfhood within an exilic state of "ecstatic grief."

Her poetry employs a trans-lyricism, weaving together dual meanings through homonyms, homophones, and portmanteaus to create a layered, fugitive language that resists rigid classifications. At its core, Interlocutor Goddess is an act of transfiguration, a celebration of girlhood, and a reclamation of wholeness for all who exist beyond imposed boundaries.

We takes an unapologetically spiritual stance in bridging politicized divides, exploring conscious and unconscious prejudices with lyricism, warmth, and self-implicating humor, how we are shaped by and create our nation by how we see ourselves and others.

The poems investigate what unites us; how the personal is political, and the political is personal; changing our perceptions to heal families, friendships, and country of incivility and villainization by practicing greater compassion; trying to see past egos to souls, as “We” suggests in conversation with Whitman: “I celebrate my being, every atom/of myself and you, lamp and mirror/of all that is”; in a new Preamble to the Constitution; and in the feminist “Peace Hymn for the Republic.” We begins with a non-partisan vision of soul, and ends driving a rural road at dawn in “State of the Union Aubade,” both paeans to our common divinity.

PEN / REGINALD LOCKETT LIFETIME ACHIEVEMENT AWARD FOR EXCELLENCE IN LITERATURE • PRIZE-WINNING NOVELIST, POET, AND PAINTER • GEORGIA WRITER’S HALL OF FAME

“A remarkable mind and the talent to match.”—Toni Morrison, Nobel-prize winning author • “A very powerful book!”—Cornelius Eady • “Radiant with attentiveness and loving compassion”—Rikki Ducornet • “A feast to be reckoned with.”—Allison Joseph • “A new book by Major is a literary event.”—John Beckman • “For forty-five years Major has been on the cutting edge of literature.”—Richard Price • “Major is an essential American writer.”—Steve Yarbrough

Clarence Major’s Four Days in Algeria is a poetic feast of travel, taking us to Paris, Florence, Ghana, Algeria, and many other places. We also experience the seasons in fresh ways. Delicious food, too, is laid before us. There are quiet moments, as on a houseboat, where the poet is writing poetry. Major gives us adventurous encounters with ordinary life rendered through poems of dazzling agility and fearless bluntness. These are also poems of unfettered Augustan honesty. They radiate with lyrical purity. Allegorical and spontaneous, they are full of holiday energy as the poet passionately affirms life, whether as he travels or simply in quiet moments of reflection.

With all the power of a long-brewing storm, the brilliant poet Jenny Factor finally returns to make public the interior work and spoils of decades in Want, The Lake, her second poetry collection.

This book of fifty-two poems spans twenty years of life—accumulated wisdom, images, and desires—with a dedication to craft that has been honed and clarified by time.

What Monsters You Make of Them interrogates ecology and injustice through shifting landscapes and ancient cities.

Stand astonished at a painting, venerate the mugshot of a poet, riff on a comedian’s quip, and recall a mentor persevering through grief. Speak of headhunters, of word origins, of saints and gods stitched into a newfound pantheon, of the multiverse as a source of reincarnation. Visit ancient cities, national parks, a sundry of gardens, and the ruins of a farmhouse. A teacher fails to help a student. A student explains war to her teacher. Seize back the forgotten. Kneel to not knowing. Interrogate ecology and injustice through shifting landscapes and know What Monsters You Make of Them.

A Stanford University Press classic.

The Bearable Slant of Light asks what the burden and gift of madness brings to a family, to our world.

What can we bear and what can we lift when a beloved, when our world, is light-struck and mad? The Bearable Slant of Light documents a web of clinical assessments, medications, the terrible beauties of delusion, and the fragile gifts of darkness. Poems that reach across the history of writers and artists who fought and sometimes lost their own battles against mental illness are set against the urgencies of our anxious world and the intimate struggle of one family.

Deer Black Out is a(n obsessional re) mediation of violence and trauma through the trans/coalescence of identities surfacing and resurfacing within a manuscript of serialized poetry, influenced by HD, Zukofsky, and Ronald Johnson. It's sort of like a body, the movement of which you can only recognize emerging within a field of static. Just the outlines. A deer! In ramifying lines, this poetry creates a self-reciprocating dialogue with the very act of self-replication. The language exists as the prosthetic support that co-creates and conditions the Baerself's emergence into the real.

FINALIST FOR THE NAACP IMAGE AWARD IN POETRY 
WINNER OF FEATHERED QUILL BOOK AWARDS
SHORT-LISTED FOR PATERSON POETRY PRIZE
SHORT-LISTED FOR MILT KESSLER POETRY BOOK AWARD
COMMENDED BY ERIC HOFFER AWARDS

The poems in Allison Joseph’s latest collection are smart, shameless, and empowered confessions of the best kind. In semi-autobiographical verse highlighting in turns light-hearted and harsh realities of modern black womanhood, these poems take the reader down “A History of African-American Hair,” visit with both Grace Jones and the Venus de Milo, send Janis Joplin to cheerleading camp, bemoan a treacherous first pair of high heels, and discuss “vagina business.” Funny, but never flippant, and always forthcoming about the author’s own flaws and foibles, Confessions of a Barefaced Woman is sure to keep readers entranced, entertained, and enlightened.

In 1938 Random House published The Selected Poetry of Robinson Jeffers, a volume that would remain in print for more than fifty years. For decades it drew enough poets, students, and general readers to keep Jeffers—in spite of the almost total academic neglect that followed his fame in the 1920s and 1930s—a force in American poetry.

Now scholars are at last beginning to recognize that he created a significant alternative to the High Modernism of Pound, Eliot, and Stevens. Similarly, contemporary poets who have returned to the narrative poem acknowledge Jeffers to be a major poet, while those exploring California and the American West as literary regions have found in him a foundational figure. Moreover, Jeffers stands as a crucial precursor to contemporary attempts to rethink our practical, ethical, and spiritual obligations to the natural world and the environment.

These developments underscore the need for a new selected edition that would, like the 1938 volume, include the long narratives that were to Jeffers his major work, along with the more easily anthologized shorter poems. This new selected edition differs from its predecessor in several ways. When Jeffers shaped the 1938 Selected Poetry, he drew from his most productive period (1917-37), but his career was not over yet. In the quarter century that followed, four more volumes of his poetry were published. This new selected edition draws from these later volumes, and it includes a sampling of the poems Jeffers left unpublished, along with several prose pieces in which he reflects on his poetry and poetics.

This edition also adopts the texts of the recently completed The Collected Poetry of Robinson Jeffers (five volumes, Stanford, 1988-2000). When the poems were originally published, copy editors and typesetters adjusted Jeffers's punctuation, often obscuring the rhythm and pacing of what he actually wrote, and at points even obscuring meaning and nuance. This new selected edition, then, is a much broader, more accurate representation of Jeffers's career than the previous Selected Poetry.

Reviews of volumes in

The Collected Poetry of Robinson Jeffers

"A masterful job of contemporary scholarly editing, this book begins an edition intended to clarify a 'Jeffers canon,' establishing for times to come the verse legacy of a poet who looked on all things with the eyes of eternity."—San Francisco Chronicle

"This edition will be standard . . . a tribute and justice to a poet whose independent strength has survived to challenge personal and public canons."—Virginia Quarterly Review

"Jeffers is the last of the major poets of his generation—Frost, Stevens, Williams, Pound, Moore, Eliot—to get his collected poems. Now that the job is at hand, it is done very well. . . . Tim Hunt has been painstaking in his editorial preparation and judicious in his presentation. . . . A great poet is ready for his due."—Philadelphia Inquirer

"Few American poets are treated as well by publishers as Jeffers is by Stanford University Press. . . . These poems represent a distinctive voice in the American canon, and it is good to have them so wonderfully set forth."—Christian Century

William Langland's Piers Plowman is one of the major poetic monuments of medieval England and of world literature. Probably composed between 1372 and 1389, the poem survives in three distinct versions. It is known to modern readers largely through the middle of the three, the so-called B-text. Now, George Economou's verse translation of the poet's third version makes available for the first time in modern English the final revision of a work that many have regarded as the greatest Christian poem in our language.

Langland's remarkable powers of invention and his passionate involvement with the spiritual, social, and political crises of his time lay claim to our attention, and demand serious comparison with Dante's Divine Comedy. Economou's translation preserves the intensity of the poet's verse and the narrative energy of his alliterative long line, the immediacy of the original's story of the quest for salvation, and the individuality of its language and wordplay.

*Winner of the 2021 International Association of Authoethnography and Narrative Inquiry Award for Outstanding Book*

*GOLD MEDALIST in the 2022 International Latino Book Awards for the Juan Felipe Herrera Best Poetry Book Award - One Author - English*

In this collection, Caballero imagines how memory frames and reshapes the present, how memory illuminates and limits the stories of ourselves, and how, despite the passage of time, primal moments in the past are the ghosts and echoes of our present. These poems interweave an early childhood lived in another country and in another language with experiences of immigration and family histories in the United States. They create connections between a child’s naïve perspective of dictatorship and an adult perspective informed by bodily illness and political knowledge. Ultimately, Caballero traces a lineage of memory, exploring how present moments unearth the past that ripples through them. This collection does not reconcile the past and the present. Instead, these poems remind us that how we ask questions about ourselves, our histories, and our bodies is what creates our identities, our traumas, and our future hopes and possibilities.

AUTHOR OF THE PULITZER PRIZE AND NATIONAL BOOK AWARD WINNER, JAMES

AUTHOR OF ERASURE, now adapted for the screen as the OSCAR-WINNING FILM, AMERICAN FICTION

Praise for Percival Everett:

“Artful and literate, Everett explores the philosophical, the metaphysical, the physical and the psychological boundaries of human life . . .”
—Terry D’Auray

“. . . Everett achieves a primal sense of dislocation, forcing us to question how we determine the limits of the human”
—Sven Birkets, The New York Times

“The audacious, uncategorizable Everett. He mixes genre and tone with absolute abandon, never does the same song twice. Brilliant.”
—The Boston Globe

“. . . An author who dances with language as effortlessly as Fred Astaire.”
—Daniel Quinn, author of Ishmael

For a couple struggling with infertility, conception is a war against their bodies. Blood and death attend. But when the war is won, and life stares, hungry, in the parents’ faces, where does that violence, anxiety, and shame go? The poems in Patter re-imagine miscarriages as minstrel shows, magic tricks, and comic strips; set Darth Vader against Oedipus’s dad in competition for “Father of the Year;” and interrogate the poet’s family’s stint on reality TV. In this, his third collection, award-winning poet Douglas Kearney doggedly worries the line between love and hate, showing how it bleeds itself into “fatherhood.”

“A brilliant and engaging book on haiku, and on the state of the body and mind required in the million to one shot against producing a good one” —Jim Harrison

First published in 1997, Seeds From a Birch Tree introduced readers to the only form of poetry in all of world literature that makes nature into a spiritual path. Its message was simple: Haiku teaches us to return to nature by following the seasons—seventeen syllables at a time.

With its mix of poetry and memoir, fallen leaves and birdsong, Seeds From a Birch Tree awakens us to what Bashō called “the life of each thing.” Simple instructions guide us to the possibilities for creativity and joy hidden in plain sight in the natural world around us, giving us hope and resilience in the face of life’s challenges.

This Revised & Expanded 25^th Anniversary Edition includes the complete text of the original classic, plus dozens of new haiku and an Afterword by the author discussing haiku for the 21^st century.

Composed entirely of words taken from the letters and public statements of the notorious segregationist Bull Connor, the poems in White Bull use language that was wielded in violence and oppression to reckon with the present moment. The city of Birmingham is a character too, with its suffocating heat and humidity, quarry pools, and mountain in the distance. Here, the truth comes out, like a child whispering in the midst of a political rally, “Summer separates us with the same trees.” And, “I thought if I repeated a word enough it would change its meaning.” Elizabeth Hughey holds up and examines the things handed down to us—from patterned wing backs and chipped tea sets to family names and gender roles—and asks if we should keep any of it or burn it all down and start again.

Winner of the 2023 BUNNY chapbook contest, Katie Naughton’s Debt Ritual sees debt as intensely private yet nevertheless significantly interconnected with global financial systems and other systems of power.

Naughton’s text is interested in the way that what appears as money is often funded by debt, while also taking into account the role of art, something that offers social capital without the accompanying wealth. Debt Ritual sets up an equivalence between money and participation in the world and then works to destabilize it. Sized as a dollar bill, Naughton’s book considers the ritualistic use inherent in money and debt and wonders how and if the ritual of art-making replicates -- or interrupts -- the rituals of finance.

Named one of the "Best Books of 2024" by the New York Public Library, Book of Kin draws on the poet’s Iranian heritage to process life-altering loss and grief.

Darius Atefat-Peckham’s debut poetry collection follows a boy’s coming of age in the aftermath of a car accident that took the lives of both his mother and brother. Through these poems, Atefat-Peckham constructs a language for grief that is porous and revelatory, spoken assuredly across the imagination, bridging time and space, and creating a reciprocal haunting between the living and the dead.

Inspired by the Persian epic The Book of Kings, the Sufi mystic poetry of Rumi, and his mother’s poetry, these poems form a path of connection between the author and his Iranian heritage. Book of Kin interrogates what it means to exist between cultures, to be a survivor of tragedy, to practice love and joy toward one’s beloveds, and to hope for greater connection through poems that wade through time and memory “like so many fish spreading swimming in the green-blue.”

A Stanford University Press classic.

Robinson Jeffers (1887-1962) is not only the greatest poet that the American West has produced but also a major poet of the twentieth century in the tradition of American prophetic poetry. This anthology serves as an introduction to Jeffers's work for the general reader and for students in courses on American poetry.

Jeffers composed each volume of his verse around one or two long narrative or dramatic poems. The Wild God of the World follows this practice: in it, Cawdor, one of Jeffers's most powerful narratives, is surrounded by a representative selection of shorter poems.

At the end of the book, the editor has provided revealing statements about Jeffers's poetry and poetics, and about his philosophy of nature and human nature.

Since the discovery over one hundred years ago of a body of Mesopotamian poetry preserved on clay tablets, what has come to be known as the Epic of Gilgamesh has been considered a masterpiece of ancient literature. It recounts the deeds of a hero-king of ancient Mesopotamia, following him through adventures and encounters with men and gods alike. Yet the central concerns of the Epic lie deeper than the lively and exotic storyline: they revolve around a man's eternal struggle with the limitations of human nature, and encompass the basic human feelings of loneliness, friendship, love, loss, revenge, and the fear of the oblivion of death. These themes are developed in a distinctly Mesopotamian idiom, to be sure, but with a sensitivity and intensity that touch the modern reader across the chasm of three thousand years. This translation presents the Epic to the general reader in a clear narrative.

Floriography Child is a book about salvation: what gives people strength in the face of adversity, not just to endure, but to move through and beyond our myriad human sufferings. Through poems, micro-essays, and visual art, Floriography Child addresses fundamental questions about purpose, connection, and resilience. Written in memoir form, this book examines the mother-daughter relationship and its intimacies in the context of a daughter’s developing chronic illness. How to bear another’s suffering—how to find sustenance in a world fraught with uncertainty and pain—is addressed through the language of flowers and the natural world. Ultimately, this book asks us to consider how each of us, whatever our path, is connected.

A visceral new collection from esteemed poet Stephen Torre, grappling with the strength and complexities of life in the northwest wild lands

Drawing from a life lived well, amidst hard work and time for reflection in the northwest wild lands of the Canadian and American Wests, Stephen Torre returns to the literary world with his usual descriptive and lyric intensity. Comprised of new and selected poems, Red Obsidian explores the necessary tensions that arise between genders and the pain and grief of environmental loss.

Inspired and influenced by a diverse array of literary influences—Indigenous oral poets and English pastoral poets, T’ang Dynasty Chinese poets and Latin American poets, American Imagists and poets Theodore Roethke, James Wright, and W.S. Merwin—Torre’s book is a poetic journal of a man passionately engaged at once with the marvel of wilderness and the rural labors of family homesteading, construction, and the logging of that wilderness.

“When there’s more joy or grief or hunger for knowing than I could express or explore elsewhere, I’m afflicted with the need to squeeze language from my fists. One can only hold so much inside,” admits Torre. Readers will feel the torque, squeeze, and pull in these poems.

Sex Augury is a collection that practices divination with the symbolism of our radically changed and changeable world. Exercising trans poetics, C. Bain denormalizes the violence embedded in the most intimate strata of American life. Confrontationally queer, urgently wounded, deeply political, and metaphysically transported, these poems create their own system of meaning in an environment that is increasingly hostile to meaning of any kind. This collection spans digital culture, gender reversals, and archetypal-mythic vocabularies, alongside close observation of the surround of “ordinary” urban existence. Sex Augury is a work of dyads, not binaries—concepts bound together which nonetheless refuse to form a coherent, harmonious whole; humor and despair, tenderness and brutality, desire and revulsion. These poems bristle with intelligence, acuity of feeling, and refusal to gloss the complexity of our moment into a false narrative of progress.

"Petrosino is a canny, wide-ranging and formally nimble writer with a magician's command of atmosphere."
—The New York Times, "The Best Poetry of 2017"

Witch Wife is back in a brand new paperback edition, featuring a reader’s guide and writing prompts from the poet herself.

The poems of Witch Wife are spells, obsessive incantations to exorcise or celebrate memory, to mourn the beloved dead, to conjure children or keep them at bay, to faithfully inhabit one’s given body. In sestinas, villanelles, hallucinogenic prose poems and free verse, Kiki Petrosino summons history’s ghosts—the ancestors that reside in her blood and craft—and sings them to life.

Here are poems with music matched to matter, so that reading them often involves both swoon and startle: “When it folds open, the rule-less rile / of sky,” Evans, writes, “the comets and giants. And also: / books, chamomile, and more kissing.” Panoramic in time and space, Lives knows each of us, our ordinary lives and our occupancy within history and the universe, our yearning for connection: “And if I turned to you now, my one wet muscle run dry, would you / turn to me? And what else could my heart be for if not to try?”

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.

Early in her powerful, affecting debut, Desautels writes: “I always mention gratitude because/people like that ending.”  Unflinching in its candor, this is the story of a woman with two swellings in her belly: a nascent baby, and a cancerous tumor. The poet could focus on the particulars of the medical case, using language from a traditional illness narrative. Instead she gives us the basics, then gathers up surprising and expansive material from various landscapes—the Black Hills, the prairies of Texas, the mountains, switchgrass, and, especially, the neighboring buffalo, to which she feels a profound connection. Desautels’ metaphors strike home; they are counterpoints, balm to the uncertainty and grief that make us uncomfortable. The book moves elegantly from its dark beginnings to a transcendent thankfulness.  With healing lyricism, she writes: “And I imagine the white sheets as heron wings./And the whirring machines are white eggs./And the worried voices are sunlight on water.”

"Marianne Chan's brilliant debut collection masterfully develops themes of identity and the long-term effects of colonization."
—Largehearted Boy

All Heathens is a declaration of ownership—of bodies, of histories, of time. Revisiting Magellan’s voyage around the world, these poems explore the speaker’s Filipino American identity by grappling with her relationship to her family and notions of diaspora, circumnavigation, and discovery. Whether rewriting the origin story of Eve (“I always imagined that the serpent had the legs of a seductive woman in black nylons”), or ruminating on what-should-have-been-said “when the man at the party said he wanted to own a Filipino,” Chan paints wry, witty renderings of anecdotal and folkloric histories, while both preserving and unveiling a self-identity that dares any other to try and claim it.

This is a book of tragicomic gurlesque word-witchery inspired by the Kate Bush cosmos. Campily glamorous, darkly funny, obsessively ekphrastic, boozily baroque, psychedelically girly & musically ecstatic, 50 Things Kate Bush Taught Me About the Multiverse dazzles as Karyna McGlynn's third collection.

Using images of the great American West and the highways that connect it, she charts a path through landscapes of disenfranchisement toward self-determination and agency. Throughout the collection, self-driving redefines freedom as both a state and a mindset. In a bold declaration, Fagin writes: “I knew my rights / were all the rights, my freedoms all the freedoms,” embodying a call for expansive liberation. This collection is a powerful exploration of identity, impermanence, and the boundless possibilities of reimagined narratives.

Listed as a “New & Noteworthy” Poetry Collection by the New York Times and named by New York Public Library as one of 2020’s “Best Books for Adults," Grimoire is a stunning sophomore collection not to be missed. 

An anthology of nature poetry by queer authors celebrating the natural world and rethinking the nature poem. 

Spanning three centuries, this anthology amplifies and centers LGBTQIA+ voices and perspectives in a collection of contemporary nature poetry. Showcasing over two hundred queer writers from the nineteenth to the twenty-first century, Queer Nature offers a new context for and expands upon the canon of nature poetry while also offering new lenses through which to view queerness and the natural world. 

In the introduction, editor Michael Walsh writes that the anthology is “concerned with poems that speak to and about nature as the term is applied in everyday language to queer and trans bodies and identities . . . Queer Nature remains interested in elements, flora, fauna, habitats, homes, and natural forces—literary aspects of the work that allow queer and trans people to speak within their specific cultural and literary histories of the abnormal, the animal, the elemental, and the unnatural.” The anthology features poets including Elizabeth Bishop, Richard Blanco, Kay Ryan, Jericho Brown, Allen Ginsberg, Natalie Diaz, and June Jordan, as well as emerging voices such as Jari Bradley, Alicia Mountain, Eric Tran, and Jim Whiteside.

Ahmad Almallah’s third collection considers the impossible task of being a Palestinian in the world today.

When genocide is the question, can the answer be anything but wrong? In Wrong Winds, written during the first months of Israel’s genocidal assault on Gaza, Palestinian-American poet Ahmad Almallah converses with the screams echoing throughout the West. Traversing European cities, Almallah encounters the impossibility of being a Palestinian, left alone in a world full of sympathizers and enemies. Through a continuous unsettling of words and places, considering the broken voices of Western poetry (Eliot, Lorca, Celan among others), the poems in Wrong Winds discover the world again and form an impossible dialogue with the dead and dying.

A collection of poems about nature and power

To Ibn al-Muʿtazz and his Abbasid contemporaries, the hunt was more than a diversion—it was the theater for their poetic and political endeavors, captured here in fifty-nine Arabic hunting poems, or ṭardiyyāt. The poems of In Deadly Embrace describe hunting expeditions with animals trained to hunt, including saluki hounds and birds of prey. Many were composed after these outings, when the hunting party gathered to enjoy the game they caught.

Poetry was central to Abbasid society and served as a method of maintaining networks of patronage and friendship; the poems in this collection reflect these power dynamics and allowed Ibn al-Muʿtazz—prince of the realm and in line for the caliphate—to explore his own relationship to social and political power and to demonstrate his fitness to rule.

Ibn al-Muʿtazz was an influential poet and literary theorist of the Modernist school of poetry. In Deadly Embrace merges the Modernists’ new techniques and styles with age-old themes: military prowess and wisdom, fitness to rule and comradeship, the camaraderie of the hunt and the cult of heroic masculinity. Groundbreaking and evocative, the poems paint vivid pictures of hunting scenes while posing deep questions about our attentiveness to the natural world and the relationship of the human to the nonhuman.

An English-only edition.

A love letter to Palestinian ancestors, their descendants, and their land, to all anti-colonial and anti-imperialist struggles, to a history that will never be forgotten, and to a future in which there thrives a free, free Palestine.

Poetry has always served as a mode of resistance in Palestinian culture. In defiance of dispossession and decades of military siege, of a nakba that never ended, of historical and cultural obfuscation, of unrelenting violence and thousands of martyred people, the “power to narrate,” as Edward Said wrote, remains a necessary tool for self-determination. The poems collected here reclaim that power, bridging borders, languages, and generations to forge new conversations around resistance and liberation.

HEAVEN LOOKS LIKE US is a battle-cry against the annihilation of a people. As Palestinian history remains haunted by exile, violence, and grief, so, too, are the poems in this anthology. And yet, editors George Abraham and Noor Hindi present these realities alongside other themes that are also true: queer and feminist perspectives, eco-poetry, meditations on love and time, and lineages of protest. This anthology dares to imagine a future beyond a nation-state for Palestinian people everywhere. Contributors include Refaat Alareer, Mahmoud Darwish, Naomi Shihab Nye, Mohammed El-Kurd, A.D. Lauren-Abunassar, Lena Khalaf Tuffaha, Hala Alyan, Fady Joudah, and Heba Abu Nada, and many other voices, both established and ascending.

NATIONAL BESTSELLER

The #1 bestselling and beloved poetry anthology, now in paperback!

“Whoever you are, you will find yourself and your own world in the expansiveness of this collection.”
 –Margaret Renkl, New York Times

“A lovely book to take with you to read at the end of your next hike.”
–Los Angeles Times

Published in association with the Library of Congress and edited by the twenty-fourth Poet Laureate of the United States, a singular collection of poems reflecting on our relationship to the natural world by fifty of our most celebrated contemporary writers.  

In recent years, our poetic landscape has evolved in profound and exciting ways. So has our planet. Edited and introduced by the twenty-fourth Poet Laureate of the United States, Ada Limón, this book challenges what we think we know about “nature poetry,” illuminating the myriad ways our landscapes—both literal and literary—are changing.

You Are Here features fifty previously unpublished poems from some of the nation’s most accomplished poets, including Joy Harjo, Diane Seuss, Rigoberto González, Jericho Brown, Aimee Nezhukumatathil, Paul Tran, and more. Each poem engages with its author’s local landscape—be it the breathtaking variety of flora in a national park, or a lone tree flowering persistently by a bus stop—offering an intimate model of how we relate to the world around us and a beautifully diverse range of voices from across the United States.

Joyful and provocative, wondrous and urgent, this singular collection of poems offers a lyrical reimagining of what “nature” and “poetry” are today, inviting readers to experience both anew.

Harold Rhenisch’s poems balance the settler and Indigenous experiences of land and water in the Pacific Northwest
A collection of shanties (songs) laid out in couplets that move between English and Chinook Wawa, The Salmon Shanties celebrates a poetic tradition deeply rooted on the West Coast. Harold Rhenisch explores memories of people, place, and of returning home, speaking the land’s names as a music of its own and creating a series of aural maps.
Imbued with rhythms of Secwepemc grass dances, the colloquial chatter of the Canadian poet Al Purdy, and the voice of poet and historian Charles Lillard, Rhenisch’s work sings of roots to the land lifted up by the sea into the sky—as if Ezra Pound had sung of Cascadia instead of Europe.
Do not be in Mareuil and Périgeux tonight; it is 1912 no longer.
We, the land’s singers, are walking the star road on the long way home
with the crickets of a July evening above Tuc el Nuit,
the burrowing owls of N’kmp,
and the long memories of the dwarf shrews of Nighthawk.
Breath cannot be denied. Poh cannot be forsaken. Ezra, shantie.

Named one of 75 Notable Translations of 2024 by World Literature Today

The debut English language poetry collection by noted Mexican author Isabel Zapata, A Whale is a Country explores humanity's relationship to the natural world through a multitude of poignant angles.

“The old time Negro preacher of parts was above all an orator, and in good measure an actor. He knew the secret of oratory, that at the bottom of it is a progression of rhythmic words more than anything else. …He often possessed a voice that was a marvelous instrument, a voice he could modulate from a sepulchral whisper to a crashing thunder clap. …At such time his language was not prose but poetry. It was from memories of such preachers there grew the idea of this book of poems.”

Featuring seven-free verse biblically inspired poems, God’s Trombones: Seven Negro Sermons in Verse is a brief, yet powerful, critically acclaimed collection that celebrates the oratorical talent of the “old time” Black preacher; the rhythm and lyricism of his words, as well as the heart and soul of his church. Beginning with the preliminary call to prayer “Listen Lord” and ending with “The Judgement Day,” Johnson leads readers on a literary journey that showcases the collision of Black life and Black art within the realm of Christianity.

Inspired by both his childhood memories of listening to sermons and a desire to pay tribute to the work of Black preachers, God’s Trombones: Seven Negro Sermons in Verse is James Weldon Johnson’s exciting exploration of African American religious expression and history.

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.

Blue Atlas is a lyrical abortion narrative unlike any other. This one-of-a-kind collection follows a Jewish woman and her ghosts as they travel from West Africa to Europe and, finally, to the High Atlas Mountains of Morocco. The speaker searches repeatedly for a new outcome, seeking answers in a myriad of mediums such as an online questionnaire, a freshman composition essay, and a curriculum vitae. The raw, often far from idyllic experience of a global love affair that results in an unplanned pregnancy is examined and meditated upon through a surreal prism. The Blue Atlas, a genus of the common cedar tree first found in the High Atlas of Morocco and known for its beauty and resilience, becomes a metaphor for the hardship and power of a fully engaged life.

A polyphonic new entry in Multiverse—a literary series written and curated by the neurodivergent—JJJJJerome Ellis’s Aster of Ceremonies beautifully extends the vision of his debut book and album, The Clearing, a “lyrical celebration of and inquiry into the intersections of blackness, music, and disabled speech” (Claudia Rankine).

Aster of Ceremonies asks what rites we need now and how poetry, astir in the asters, can help them along. What is the relationship between fleeing and feeling? How can the voices of those who came before—and the stutters that leaven those voices—carry into our present moment, mingling with our own? When Ellis writes, “Bring me the stolen will / Bring me the stolen well,” his voice is a conduit, his “me” is many. Through the grateful invocations of ancestors—Hannah, Mariah, Kit, Jan, and others—and their songs, he rewrites history, creating a world that blooms backward, reimagining what it means for Black and disabled people to have taken, and to continue to take, their freedom. 

By weaving a chorus of voices past and present, Ellis counters the attack of “all masters of all vessels” and replaces it with a family of flowers. He models how—as with his brilliant transduction of escaped slave advertisements—we might proclaim lost ownership over literature and history. “Bring me to the well,” he chants, implores, channels. “Bring me to me.” In this bringing, in this singing, he proclaims our collective belonging to shared worlds where we can gather and heal.

The Aster of Ceremonies audiobook read and performed by JJJJJerome Ellis is available everywhere you listen to audiobooks. 

Amal’ezulu (Zulu Horizons), first published in 1945 in the Bantu (later, African) Treasury Series by the University of the Witwatersrand Press, was the second volume of poetry produced by the renowned Zulu author B.W. Vilakazi. It was written during the ten years he spent living in Johannesburg, in ‘exile’ from his birthplace, KwaZulu-Natal. The poems in this collection represent a turning point in Vilakazi’s life; they express yearnings for the beloved land, animals and ancestral spirits of his rural home, as well as expressions of deep disillusionment with the urban life he encountered in the ‘City of Gold’, and in particular the suffering of the black miners who brought this gold to the surface but never experienced the benefits of the wealth it produced for the mine owners. Vilakazi was deeply conscious of the subhuman system that held these miners in its grip, and gave voice to their suffering in many of the poems in the collection, in particular the now famous poem ‘Ezinkomponi’ (‘On the mine compounds’).

Renowned as the father of Nguni literature, Vilakazi was both a traditional imbongi (bard) and a forward-looking poet who could fuse Western poetic forms with Zulu izibongo (praise poetry). In these poems he assumes the role of the voice of the voiceless, and gives poignant expression to the stoic endurance of those caught up in the brutalities of capitalist exploitation of African labour, and the appalling injustices of the migrant labour system.

Delivers an urgent poetics of resistance and appeal for environmental justice for a Saskatchewan community

“We began to dig ourselves

deeper than we dreamed
when we began to see

metal as other than medicine,
our bodies, more than mineral.”

At Rabbit Lake in northern Saskatchewan lies the second largest uranium mine in the western world. For decades, uranium ore and its poisonous by-products—pitchblende, a highly radioactive rock—were removed, transported and scattered across the land, forever altering the lives of plants, animals, and peoples who live there.

Elise Marcella Godfrey’s Pitchblende is a timely, polyvocal, exquisitely crafted poetic intervention into environmental ethics and extractive industries. Inspired by and adapted from testimonies given at the public hearings about the Rabbit Lake mine, Godfrey creates a parallel structure for the found text—and the voices—to colonize. Interconnected, Godfrey’s poems are a chorus of Indigenous Elders and women protesting a destructive, unwanted mine in their community and a visual, literal representation of how industry, capitalism, and colonialism seek to erase these same people and their voices.

Pitchblende is a powerful, political collection that challenges us to urgently rethink our responsibilities to the land, water, and air that sustains all species, and our responsibilities to one another.

Shortlisted, Maxine Tynes Nova Scotia Poetry Award, 2021

Burden is the story of a seventeen-year-old British soldier, Private Herbert Burden, who was shot for desertion during World War I

He was one of hundreds so executed. It is now understood that many had committed no crime, but were suffering from PTSD. Burden’s story is told in the voice of Lance Corporal Reginald Smith, the author’s uncle. The author discovered years later in a box of papers that his uncle, Lance Corporal Smith, had befriended Private Burden but then was ultimately commanded to join in the firing squad that killed his friend. This slim book reaches below standard indictments of war—it shows us that “terrifying,” “senseless,” “horrific” don’t go deep enough. To utter them, the eye must already be closing over. Smith’s account is an object lesson in why poetry matters. It takes us to places even the best journalism can’t reach.