Poetry

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.

Each day after school, Mohammed El-Kurd’s grandmother welcomed him at the door of his home with a bouquet of jasmine. Her name was Rifqa—she was older than Israel itself and an icon of Palestinian resilience.

With razor-sharp wit and glistening moral clarity, El-Kurd lays bare the brutality of Israeli settler colonialism. His poems trace Rifqa’s exile from Haifa to his family’s current dispossession in Sheikh Jarrah, Jerusalem, exposing the cyclical and relentless horror of the Nakba.

El-Kurd’s debut collection definitively shows that the Palestinian struggle is a revolution, until victory.

In What We Do with God, Daniella Toosie-Watson collapses the division among humans, the natural world, and the divine.

Toosie-Watson’s debut poetry collection meditates on the politics of mental health, pleasure, and the natural world. In this book, the everyday miracles of insects are studied, celebrated, and made sacrosanct. Prayer and pleasure are two sides of the same coin. Propriety has no bearing on sensual connection and exploration. The poet calls upon Puerto Rican, Iranian, and Russian inheritance to explore where, why, and how ancestral mysticism and Western pathology intersect and/or diverge. The speaker finds those questions mirrored back as they maneuver through the stark realities of the US mental health care system.

What We Do with God dives into the grotesque, the bestial, the surreal, as a means to defamiliarize abuse. Toosie-Watson’s debut poetry collection is a practice of reclamation.

With an unapologetic impiety to holiness and waywardness, What We Do with God invites readers to enter a world where care extends beyond ourselves and those closest to us to ecosystems holding the wider world together.

Esta colección debut de poesía exige la abolición de la vigilancia policial y el encarcelamiento humano. En Diarios de Terrorista Christopher Soto usa el pronombre "nosotros" para enfatizar que la violencia policial no solo afecta a individuos, sino a comunidades enteras.

Su poética abre la imaginación hacia posibilidades de existencia más allá del status quo. Soto pregunta: "¿A quién llamamos terrorista y por qué?" Estos poemas, de surrealismo político, se mueven entre la vulnerabilidad desgarradora, el humor que hace reír a carcajadas y la irreverencia punk queer sin disculpas. Diarios de un Terrorista es innovador en su capacidad para hablar, desde una escala local hasta una global, sobre uno de los problemas más importantes de nuestro tiempo.

Esta colección debut de poesía exige la abolición de la vigilancia policial y el encarcelamiento humano. En Diarios de Terrorista Christopher Soto usa el pronombre "nosotros" para enfatizar que la violencia policial no solo afecta a individuos, sino a comunidades enteras.

Su poética abre la imaginación hacia posibilidades de existencia más allá del status quo. Soto pregunta: "¿A quién llamamos terrorista y por qué?" Estos poemas, de surrealismo político, se mueven entre la vulnerabilidad desgarradora, el humor que hace reír a carcajadas y la irreverencia punk queer sin disculpas. Diarios de un Terrorista es innovador en su capacidad para hablar, desde una escala local hasta una global, sobre uno de los problemas más importantes de nuestro tiempo.

Like A Hammer is an anthology of poems that unearths the shared traumas produced by America’s incarceration system.

These powerful poems of witness seek to address the oppressive systems that make up the US prison-industrial complex, revealing cracks in a criminal punishment system that too often appears unchangeable. The impacts of that system reverberate through lives and across generations. The poets gathered here aim to foreground the real experiences of people touched by the system, to upend dominant narratives, shine light on injustice, and act as a fulcrum around which to organize communities in support of change.

Like A Hammer explores how art and imagination can serve as vehicles for endurance, offering us the hope to envision a better future.

Contributors include: Hanif Abdurraqib, Rhionna Anderson, Brian Batchelor, Reginald Dwayne Betts, Marina Bueno, Cody Bruce, Marcelo Hernandez Castillo, Natalie Diaz, Tongo Eisen-Martin, Nikky Finney, Kennedy A. Gisege, Gustavo Guerra, Jessica Hill, Vicki Hicks, Randall Horton, Sandra Jackson, Catherine LaFleur, Ada Limón, Sarah Lynn Maatsch, Christopher Malec, Eduardo Martinez, John Murillo, Angel Nafis, Kenneth Nadeau, Leeann Parker, James Pearl, Christina Pernini, Roque Raquel Salas Rivera, Patrick Rosal, Nicole Sealey, Evie Shockley, Patricia Smith, Sin á Tes Souhaits, Vanessa Angélica Villarreal, Erica "Ewok" Walker, Candace Williams, and SHE>i

An anthology of poetry on Nikkei incarceration, written by descendants of the WWII prisons and camps

A tribute to the 150,000 people incarcerated by the United States and Canada during WWII, this anthology is the first of its kind. The poetry expresses a range of experiences and perspectives from the afterlife of this historical yet enduring injustice. With a foreword by acclaimed poet, activist, and concentration camp survivor, Mitsuye Yamada, and an introduction by the editors, poets Brynn Saito and Brandon Shimoda, The Gate of Memory explores intergenerational trauma as the contributors, all of whom are descendants of those who were incarcerated, sift through an intimate record of wartime incarceration.

Contributors to this anthology include poets of Japanese American, Japanese Canadian, Okinawan American, Okinawan Canadian, Japanese Hawaiian, Alaska Native, mixed race Nikkei, and Japanese descent. Their poems reimagine, reinhabit, and retell the story of incarceration while embodying its many legacies, through a diversity of modes and themes, creating a panoramic portrait of anti-Asian racism, assimilation, loyalty, resistance, and redemption. The anthology illuminates individual perspectives and reveals collective experience. It insists upon the imperative of poetry in the processes of solidarity and transgenerational healing.

With contributions from: Kiik Araki-Kawaguchi, Brittany Arita, Aaron Caycedo-Kimura, Brian Komei Dempster, Miya Folick, Sesshu Foster, Sharon Fujimoto-Johnson, Steve Fujimura, Laura K. Fukumoto, Cathlin Goulding, Rebecca A. Green, Richard Hamasaki, Sharon Hashimoto, Casey Hidekawa Lane/Levinski, Garrett Hongo, Jodi Hottel, Kurt Yokoyama Ikeda, Kevin Irie, Michael Ishii, Erica H. Isomura, Lauren Emiko Ito, Susan Kiyo Ito, Miya Iwataki, Dr. Claire Kageyama-Ramakrishnan, W. Todd Kaneko, Traci Kato-Kiriyama, Amanda Mei Kim, Christine Kitano, Aisuke Kondo, Garrett Kurai, Keiko Lane, Katherine Terumi Laubscher, Alison Lubar, Mia Ayumi Malhotra, Angela Marian May, Ali Meyers-Ohki, Emily Mitamura, Hikari Leilani Miya, Starr Sumie Miyata, James Fujinami Moore, Paulette "Tkl Un Yeik" Moreno, David Mura, Heather Nagami, Noriko Nakada, Greer Nakadegawa-Lee, Carolyn Nakagawa, Yukiko Nakagura (translator), Ryan Hitoshi Nakano, Tamiko Nimura, Mona Oikawa, Troy Osaki, Michael Prior, Brynn Saito, Brandon Shimoda, Patrick Shiroishi, Leanne Toshiko Simpson, Dana Swensen, Kenneth Tanemura, Micah Tasaka, George Uba, Amy Uyematsu, Terry Watada, Anne Watanabe, Syd Westley, Sho Yamagushiku, Doug Yamamoto, Traise Yamamoto. Cover art by Rob Sato.

In What We Do with God, Daniella Toosie-Watson collapses the division among humans, the natural world, and the divine.

Toosie-Watson’s debut poetry collection meditates on the politics of mental health, pleasure, and the natural world. In this book, the everyday miracles of insects are studied, celebrated, and made sacrosanct. Prayer and pleasure are two sides of the same coin. Propriety has no bearing on sensual connection and exploration. The poet calls upon Puerto Rican, Iranian, and Russian inheritance to explore where, why, and how ancestral mysticism and Western pathology intersect and/or diverge. The speaker finds those questions mirrored back as they maneuver through the stark realities of the US mental health care system.

What We Do with God dives into the grotesque, the bestial, the surreal, as a means to defamiliarize abuse. Toosie-Watson’s debut poetry collection is a practice of reclamation.

With an unapologetic impiety to holiness and waywardness, What We Do with God invites readers to enter a world where care extends beyond ourselves and those closest to us to ecosystems holding the wider world together.

A visual & lyrical declaration filled with fever & flight, Reprise, Golden’s second collection of poetry & photography, maps a personal search for safety in a US that offers none.

Golden’s collection illuminates a path through national uprisings, anti-trans violence, family loss, and a global pandemic. These sonically playful poems and assertive, color-saturated portraits reveal a stark vulnerability that invites readers to look deeply at times of great and, possibly, liberatory uncertainty.

At its heart, this collection asks: Where is home? Who is free? What makes a nation?

Golden seeks portals towards self-liberation. In their pursuit, we’re invited to witness and learn from their interior revolution, from which they emerge more free to declare themselves in small and large ways: Whether stating I just want to wear my orange dress to the tennis courts & come back home unbothered or I am home in the arms of the armed. 

Building on their debut collection A Dead Name That Learned How to Live and their award-winning self-portraiture series On Learning How to Live, Golden honors the living siege & sorrow, rage & revival, joy & creation of being Black and trans in America.

A debut collection of lyric poems interrogating the generational implications of the Great Migration to Northern California. 
Ankle-Deep in Pacific Water, a debut collection by E. Hughes, marries personal narrative with historical excavation to articulate the intricacies of Black familial love, life, and pain. Tracing the experiences of a southern Black family, their migration to the San Francisco Bay area, and the persistent anti-Blackness there (despite the state’s insistence that it is/was not involved in the US’ projects of imperialism or chattel slavery), Hughes illuminates the intersections of history, grief, and violence.
At the book’s heart is “The Accounts of Mammy Pleasant,” a persona poem written from the perspective of the formerly enslaved abolitionist and financier Mary Ellen Pleasant who is thought to have helped fund John Brown’s raid on Harpers Ferry. Alongside this historical account, Hughes deftly weaves in the story of a contemporary Black family navigating the generational trauma resulting from the Great Migration: domestic violence and racialized violence, familial love and loyalty, the work of parenting, and the work of being a child. Ankle-Deep in Pacific Water reveals in its pages that, while many things have changed over time, ultimately the question of what “freedom” meant and looked like for Black people in the early 20th century retains the same murkiness and contradictions for Black people today. 

A debut collection of lyric poems interrogating the generational implications of the Great Migration to Northern California. 
Ankle-Deep in Pacific Water, a debut collection by E. Hughes, marries personal narrative with historical excavation to articulate the intricacies of Black familial love, life, and pain. Tracing the experiences of a southern Black family, their migration to the San Francisco Bay area, and the persistent anti-Blackness there (despite the state’s insistence that it is/was not involved in the US’ projects of imperialism or chattel slavery), Hughes illuminates the intersections of history, grief, and violence.
At the book’s heart is “The Accounts of Mammy Pleasant,” a persona poem written from the perspective of the formerly enslaved abolitionist and financier Mary Ellen Pleasant who is thought to have helped fund John Brown’s raid on Harpers Ferry. Alongside this historical account, Hughes deftly weaves in the story of a contemporary Black family navigating the generational trauma resulting from the Great Migration: domestic violence and racialized violence, familial love and loyalty, the work of parenting, and the work of being a child. Ankle-Deep in Pacific Water reveals in its pages that, while many things have changed over time, ultimately the question of what “freedom” meant and looked like for Black people in the early 20th century retains the same murkiness and contradictions for Black people today. 

Like A Hammer is an anthology of poems that unearths the shared traumas produced by America’s incarceration system.

These powerful poems of witness seek to address the oppressive systems that make up the US prison-industrial complex, revealing cracks in a criminal punishment system that too often appears unchangeable. The impacts of that system reverberate through lives and across generations. The poets gathered here aim to foreground the real experiences of people touched by the system, to upend dominant narratives, shine light on injustice, and act as a fulcrum around which to organize communities in support of change.

Like A Hammer explores how art and imagination can serve as vehicles for endurance, offering us the hope to envision a better future.

Contributors include: Hanif Abdurraqib, Rhionna Anderson, Brian Batchelor, Reginald Dwayne Betts, Marina Bueno, Cody Bruce, Marcelo Hernandez Castillo, Natalie Diaz, Tongo Eisen-Martin, Nikky Finney, Kennedy A. Gisege, Gustavo Guerra, Jessica Hill, Vicki Hicks, Randall Horton, Sandra Jackson, Catherine LaFleur, Ada Limón, Sarah Lynn Maatsch, Christopher Malec, Eduardo Martinez, John Murillo, Angel Nafis, Kenneth Nadeau, Leeann Parker, James Pearl, Christina Pernini, Roque Raquel Salas Rivera, Patrick Rosal, Nicole Sealey, Evie Shockley, Patricia Smith, Sin á Tes Souhaits, Vanessa Angélica Villarreal, Erica "Ewok" Walker, Candace Williams, and SHE>i

From the critically acclaimed author of HoodWitch, Faylita Hicks’s second collection explores the question, Where do our desires take us?
An offspring of Audre Lorde’s seminal essay “Uses of the Erotic,” Hicks’s A Map of My Want follows a nonbinary femme as they explore the sensual intersection of the personal and the political, a crossroads to which their sexual liberation brought them after their escape from a religious cult. Lyrically, Hicks interprets the US Declaration of Independence's infamous “life, liberty, and the pursuit of happiness” for themselves. Combining storytelling with Western astrology, this poetry collection is an intimate erotic spell through which Hicks conjures joy as they develop an alternate theory on how to attain happiness—through ecstatic healing.

A beautiful anthology featuring some of the brightest voices in contemporary American poetry who challenge, expand, and illuminate the meaning of the label “Asian American and Pacific Islander” in today’s world.

In this thoughtfully curated, intergenerational collection, poets of multiple languages, lands, and waters write against and through the contested terrain of AAPI identity. Too often, Pacific Islanders and Asian Americans are squeezed into the same story. The poets gathered here, and the lineages they represent, exceed this sameness. May this anthology uplift complexities and incite transformation and joy.

Contributors include Marilyn Chin, Joshua Nguyen, Teresia Teaiwa, Haunani-Kay Trask, and many more writers, both established and emerging.

From one of the most imaginative and radical voices in contemporary poetry, a debut collection of fierce tenderness, political acuity, and powerful lyricism.

Tarik Dobbs’s work explores surveillance, queerness, disability, race, and working-class identity in post-9/11 America. As an Arab American writer, Dobbs is achingly familiar with the power dynamics, violence, and capitalistic undercurrents woven through the language of the colonizer. They challenge this power in visual, free-verse, and formally intense poems—both traditional and innovative—that stretch the elasticity of borders, verbs, images, redactions, and more. Ranging from sonnets to concrete poems, Nazar Boy is visually stimulating, thought-provoking, emotionally wrenching, and exquisitely crafted.

Dobbs’ poems blur and collapse narrative distances within and between places, from the Levant to Michigan, and break down dichotomies portrayed in Western media: between Arabness and whiteness, intellectualism and the working poor, Muslimness and queerness, disability and desire. By turns irreverent and serenely gentle, Dobbs calls us to speak, to dream, and to imagine beyond those distances so that we might speak, dream, and imagine better versions of ourselves, our relationships to each other, and our places in the world.

A beautiful anthology featuring some of the brightest voices in contemporary American poetry who challenge, expand, and illuminate the meaning of the label “Asian American and Pacific Islander” in today’s world.

In this thoughtfully curated, intergenerational collection, poets of multiple languages, lands, and waters write against and through the contested terrain of AAPI identity. Too often, Pacific Islanders and Asian Americans are squeezed into the same story. The poets gathered here, and the lineages they represent, exceed this sameness. May this anthology uplift complexities and incite transformation and joy.

Contributors include Marilyn Chin, Joshua Nguyen, Teresia Teaiwa, Haunani-Kay Trask, and many more writers, both established and emerging.

From the critically acclaimed author of HoodWitch, Faylita Hicks’s second collection explores the question, Where do our desires take us?
An offspring of Audre Lorde’s seminal essay “Uses of the Erotic,” Hicks’s A Map of My Want follows a nonbinary femme as they explore the sensual intersection of the personal and the political, a crossroads to which their sexual liberation brought them after their escape from a religious cult. Lyrically, Hicks interprets the US Declaration of Independence's infamous “life, liberty, and the pursuit of happiness” for themselves. Combining storytelling with Western astrology, this poetry collection is an intimate erotic spell through which Hicks conjures joy as they develop an alternate theory on how to attain happiness—through ecstatic healing.

From one of the most imaginative and radical voices in contemporary poetry, a debut collection of fierce tenderness, political acuity, and powerful lyricism.

Tarik Dobbs’s work explores surveillance, queerness, disability, race, and working-class identity in post-9/11 America. As an Arab American writer, Dobbs is achingly familiar with the power dynamics, violence, and capitalistic undercurrents woven through the language of the colonizer. They challenge this power in visual, free-verse, and formally intense poems—both traditional and innovative—that stretch the elasticity of borders, verbs, images, redactions, and more. Ranging from sonnets to concrete poems, Nazar Boy is visually stimulating, thought-provoking, emotionally wrenching, and exquisitely crafted.

Dobbs’ poems blur and collapse narrative distances within and between places, from the Levant to Michigan, and break down dichotomies portrayed in Western media: between Arabness and whiteness, intellectualism and the working poor, Muslimness and queerness, disability and desire. By turns irreverent and serenely gentle, Dobbs calls us to speak, to dream, and to imagine beyond those distances so that we might speak, dream, and imagine better versions of ourselves, our relationships to each other, and our places in the world.

A collection of moving and tender poems that delves into questions of masculinity, fatherhood, home, and learning to live in and love one’s own body. 

In his second full-length poetry collection, Chicago-born poet Dan “Sully” Sullivan considers the male body—its momentum and privilege when moving through the world, but also its softness and vulnerability. As the poems unfold and questions unravel, the book challenges wider social systems that uphold patriarchal notions of masculinity, seeking to achieve a new register of compassion, of self-love. 

O Body is also a migration narrative, navigating the physical distances between cities—the speaker’s movement between Chicago and his new home in Bloomington—and beyond that, the expansive, immeasurable distances within the self. Cityscapes come alive on the page and relationships bloom and deepen as Sully explores love, fatherhood, and family; here, traditional assumptions regarding masculinity and beauty are called into question through the speaker’s tenderhearted wondering.

As more and more people awaken to the realization that the patriarchy oppresses people of all genders, Sully’s work in O Body offers a much-needed narrative of that shifting perspective. This deeply self-aware and big-hearted book holds space for reflecting on one’s physical body and interiority: the complex relationship between the two as well as their intricate and often fraught connections to the wider community and the places we call home.

Encompassing the breadth of Cheryl Boyce-Taylor’s astounding career, The Limitless Heart is a time capsule of the boundless love, care, grief, and fortitude that make her work so stirring.

With deep empathy, thoughtfulness, charisma, and lyricism, Boyce-Taylor’s work explores questions of immigration, motherhood, and queer sensuality, among other themes. Grief is both an anchor and a door throughout Boyce-Taylor’s poetry, as seen in Mama Phife Represents, a hybrid of memoir and verse on the death of her son, Malik “Phife Dawg” Taylor of A Tribe Called Quest. Questions regarding Blackness and Black womanhood in the United States are stitched throughout her books, and Boyce-Taylor leans into a more overtly defiant political register in her latest work, We Are Not Wearing Helmets, while maintaining the connective spine of the Trinidadian dialect that appears throughout all her work. Selections from these books, as well as her other poetry collections, appear in this new volume.

Curated from Boyce-Taylor’s body of work, The Limitless Heart encapsulates her progression as a writer throughout the decades of her highly successful career.

A rigorous and defiant collection that subverts contemporary discourse and representations of incarceration, of hip-hop, and of Asian American culture and literature. 

Justin Rovillos Monson’s poetic voice is sharp and irreverent—improvisational yet thoughtful, musical, and tender, achieving a range of lyrical registers woven seamlessly throughout the book from the first to last poem.

Monson’s work challenges his readers with uncomfortable but essential, urgent, and necessary questions: What does it mean to be in the world and yet live apart from it? What happens to the minds and bodies of those locked away? What happens to the minds and bodies of their loved ones? How can America get free? Braiding personal narrative with contemporary rap lyrics and institutional language, Monson deepens the nuances and dimensions of and within Asian American poetics, prison poetics, and hip-hop poetics with his deft and experimental writing style. 

American Inmate speaks through cages, bars, walls, and borders, collapsing widespread misconceptions and stereotypes regarding incarceration, and shrinking the distance between readers on the outside and the complex interiority of an incarcerated human being. Sometimes slipping, sometimes soaring, sometimes laughing, sometimes dying, Monson’s fiery debut is a fresh, moving, elucidative work that will challenge readers to think more critically about the systems that govern our lives, to imagine with compassion and inclusivity, and to settle for nothing less than a truly free future that is liberatory for all.

A collection of moving and tender poems that delves into questions of masculinity, fatherhood, home, and learning to live in and love one’s own body. 

In his second full-length poetry collection, Chicago-born poet Dan “Sully” Sullivan considers the male body—its momentum and privilege when moving through the world, but also its softness and vulnerability. As the poems unfold and questions unravel, the book challenges wider social systems that uphold patriarchal notions of masculinity, seeking to achieve a new register of compassion, of self-love. 

O Body is also a migration narrative, navigating the physical distances between cities—the speaker’s movement between Chicago and his new home in Bloomington—and beyond that, the expansive, immeasurable distances within the self. Cityscapes come alive on the page and relationships bloom and deepen as Sully explores love, fatherhood, and family; here, traditional assumptions regarding masculinity and beauty are called into question through the speaker’s tenderhearted wondering.

As more and more people awaken to the realization that the patriarchy oppresses people of all genders, Sully’s work in O Body offers a much-needed narrative of that shifting perspective. This deeply self-aware and big-hearted book holds space for reflecting on one’s physical body and interiority: the complex relationship between the two as well as their intricate and often fraught connections to the wider community and the places we call home.

Florida Water is a collection of poems that, like the cleansing waters of spiritual baths, rinse, reflect, and reveal the raw truths that lie within.

In this vulnerable meditation, aja monet reflects on her migration to South Florida in search of love, connection, and belonging, unearthing the delicate balance between the poet, lover, and community organizer. These poems lay bare the tender dance of relationships, entwining the personal with the political, as they confront the state’s fractured history of racial prejudice, marooned peoples, and the unruly forces of nature.

In Florida Water, each poem is an artifact—an offering from her time spent wading through the rising tides of climate change, heartbreak, and systemic violence. With each line, monet immerses us deeper into the water, where the currents of memory, struggle, and survival pull us toward both despair and hope.

Encompassing the breadth of Cheryl Boyce-Taylor’s astounding career, The Limitless Heart is a time capsule of the boundless love, care, grief, and fortitude that make her work so stirring.

With deep empathy, thoughtfulness, charisma, and lyricism, Boyce-Taylor’s work explores questions of immigration, motherhood, and queer sensuality, among other themes. Grief is both an anchor and a door throughout Boyce-Taylor’s poetry, as seen in Mama Phife Represents, a hybrid of memoir and verse on the death of her son, Malik “Phife Dawg” Taylor of A Tribe Called Quest. Questions regarding Blackness and Black womanhood in the United States are stitched throughout her books, and Boyce-Taylor leans into a more overtly defiant political register in her latest work, We Are Not Wearing Helmets, while maintaining the connective spine of the Trinidadian dialect that appears throughout all her work. Selections from these books, as well as her other poetry collections, appear in this new volume.

Curated from Boyce-Taylor’s body of work, The Limitless Heart encapsulates her progression as a writer throughout the decades of her highly successful career.

A rigorous and defiant collection that subverts contemporary discourse and representations of incarceration, of hip-hop, and of Asian American culture and literature. 

Justin Rovillos Monson’s poetic voice is sharp and irreverent—improvisational yet thoughtful, musical, and tender, achieving a range of lyrical registers woven seamlessly throughout the book from the first to last poem.

Monson’s work challenges his readers with uncomfortable but essential, urgent, and necessary questions: What does it mean to be in the world and yet live apart from it? What happens to the minds and bodies of those locked away? What happens to the minds and bodies of their loved ones? How can America get free? Braiding personal narrative with contemporary rap lyrics and institutional language, Monson deepens the nuances and dimensions of and within Asian American poetics, prison poetics, and hip-hop poetics with his deft and experimental writing style. 

American Inmate speaks through cages, bars, walls, and borders, collapsing widespread misconceptions and stereotypes regarding incarceration, and shrinking the distance between readers on the outside and the complex interiority of an incarcerated human being. Sometimes slipping, sometimes soaring, sometimes laughing, sometimes dying, Monson’s fiery debut is a fresh, moving, elucidative work that will challenge readers to think more critically about the systems that govern our lives, to imagine with compassion and inclusivity, and to settle for nothing less than a truly free future that is liberatory for all.

A poetic sequence using the 1841 slave revolt aboard the brig Creole as a lens through which to view the vitality of Black lives and the afterlife of slavery.

In 1841, the only successful, large-scale revolt of American-born enslaved people erupted on the ship Creole. 135 people escaped chattel slavery that day. The event was recounted in US Senate documents, including letters exchanged between US and British consulates in The Bahamas and depositions from the white crew on the ship. There is no known record or testimony from the 135 people who escaped. Their story has been lost to time and indifference. Quenton Baker’s ballast is an attempt at incomplete redress.

With imagination, deep empathy, and skilled and compelling lyricism, Baker took a black marker to those Senate documents and culled a poetic recount of the Creole revolt. Layers of ink connect readers to Baker’s poetic process: (re)phrasing the narrative of the state through a dexterous process of hands-on redactions.

ballast is a relentless, wrenching, and gorgeously written book, a defiant reclamation of one of the most important but overlooked events in US history, and an essential contribution to contemporary poetry.

A collection of poetry that moves from family history and the heartbreaks of navigating a predominantly white high school into adulthood, exploring the ways the speaker’s experiences echo those of an expansive and intricate history of Black girls and women.

In this beautiful debut from an exciting new poet, Alexa Patrick’s Remedies for Disappearing memorializes Blackness in its quiet and unexpected forms, bringing the peripheral into focus. These poems muddy Black life and death, observe lineage and love stories, and question what “disappearing” teaches about Blackness and bodies.

Remedies for Disappearing is gritty, sharp, and formally inventive, demonstrating Patrick’s imaginative curiosity, lyrical restraint, and confidence in her handling of language. Moments of aphoristic confession are balanced with imagistic precision as the speaker recounts the ways her aunties, sisters, and even herself have disappeared in order to survive.

Patrick’s poetry is haunting and hopeful, striving to provide readers with the tools and context to acknowledge, define, and honor the complexity of Black girl/womanhood. Remedies for Disappearing connects Black girls and women to each other and to their own histories, and insists that they be fully and wholly seen.

A collection of poetry that moves from family history and the heartbreaks of navigating a predominantly white high school into adulthood, exploring the ways the speaker’s experiences echo those of an expansive and intricate history of Black girls and women.

In this beautiful debut from an exciting new poet, Alexa Patrick’s Remedies for Disappearing memorializes Blackness in its quiet and unexpected forms, bringing the peripheral into focus. These poems muddy Black life and death, observe lineage and love stories, and question what “disappearing” teaches about Blackness and bodies.

Remedies for Disappearing is gritty, sharp, and formally inventive, demonstrating Patrick’s imaginative curiosity, lyrical restraint, and confidence in her handling of language. Moments of aphoristic confession are balanced with imagistic precision as the speaker recounts the ways her aunties, sisters, and even herself have disappeared in order to survive.

Patrick’s poetry is haunting and hopeful, striving to provide readers with the tools and context to acknowledge, define, and honor the complexity of Black girl/womanhood. Remedies for Disappearing connects Black girls and women to each other and to their own histories, and insists that they be fully and wholly seen.

In their latest collection of poems, Cave Canem Poetry Prize winner Brionne Janae dives into the deep, unsettled waters of intimate partner violence, queerness, grief, and survival.

“I’ve decided I can’t trust anyone who uses darkness as a metaphor for what they fear,” poet Brionne Janae writes in this stunning new collection, in which the speaker navigates past and present traumas and interrogates familial and artistic lineages, queer relationships, positions of power, and community.

Because You Were Mine is an intimate look at love, loneliness, and what it costs to survive abuse at the hands of those meant to be “protectors.” In raw, confessional, image-heavy poems, Janae explores the aftershocks of the dangerous entanglement of love and possession in parent-child relationships. Through this difficult but necessary examination, the collection speaks on behalf of children who were left or harmed as a result of the failures of their parents, their states, and their gods.

Survivors, queer folks, and readers of poetry will find recognition and solace in these hard-wrought poems—poems that honor survivorship, queer love, parent wounds, trauma, and the complexities of familial blood.

In their latest collection of poems, Cave Canem Poetry Prize winner Brionne Janae dives into the deep, unsettled waters of intimate partner violence, queerness, grief, and survival.

“I’ve decided I can’t trust anyone who uses darkness as a metaphor for what they fear,” poet Brionne Janae writes in this stunning new collection, in which the speaker navigates past and present traumas and interrogates familial and artistic lineages, queer relationships, positions of power, and community.

Because You Were Mine is an intimate look at love, loneliness, and what it costs to survive abuse at the hands of those meant to be “protectors.” In raw, confessional, image-heavy poems, Janae explores the aftershocks of the dangerous entanglement of love and possession in parent-child relationships. Through this difficult but necessary examination, the collection speaks on behalf of children who were left or harmed as a result of the failures of their parents, their states, and their gods.

Survivors, queer folks, and readers of poetry will find recognition and solace in these hard-wrought poems—poems that honor survivorship, queer love, parent wounds, trauma, and the complexities of familial blood.

A poetic sequence using the 1841 slave revolt aboard the brig Creole as a lens through which to view the vitality of Black lives and the afterlife of slavery.

In 1841, the only successful, large-scale revolt of American-born enslaved people erupted on the ship Creole. 135 people escaped chattel slavery that day. The event was recounted in US Senate documents, including letters exchanged between US and British consulates in The Bahamas and depositions from the white crew on the ship. There is no known record or testimony from the 135 people who escaped. Their story has been lost to time and indifference. Quenton Baker’s ballast is an attempt at incomplete redress.

With imagination, deep empathy, and skilled and compelling lyricism, Baker took a black marker to those Senate documents and culled a poetic recount of the Creole revolt. Layers of ink connect readers to Baker’s poetic process: (re)phrasing the narrative of the state through a dexterous process of hands-on redactions.

ballast is a relentless, wrenching, and gorgeously written book, a defiant reclamation of one of the most important but overlooked events in US history, and an essential contribution to contemporary poetry.

The collected poems dispel the notion that there is one correct way to be a Muslim by holding space for multiple, intersecting identities while celebrating and protecting those identities.

Halal If You Hear Me features poems by Safia Elhillo, Fatimah Asghar, Warsan Shire, Tarfia Faizullah, Angel Nafis, Beyza Ozer, and many others.

Fatimah Asghar is the creator of the Emmy-Nominated web series Brown Girls, now in development for HBO. She is the author of If They Come For Us and a recipient of a 2017 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship. She is a member of the Dark Noise Collective and a Kundiman fellow. In 2017, she was listed on Forbes’s 30 Under 30 list.

Safia Elhillo is the author of The January Children. Sudanese by way of Washington, DC and a Cave Canem fellow, she holds an MFA from the New School. In 2018, she was awarded a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation.

From Chicago’s 2020 Youth Poet Laureate, Waning is an imaginative yet grounded coming-of-age exploration.

As the moon cycles through phases of reflection, release, and recovery, the speaker in Nué’s collection moves through their own transformative journey. Waning commits to interior questions of Blackness, witness, desire, forgiveness, and what it means to take up space in ways that are healing and liberatory. With wisdom and vulnerability, these lyrical poems interrogate labor in all its iterations: community, survival, and most importantly, who we show up whole for each of our evolving selves. 

All the Blood Involved in Love is an urgent and evocative collection—featuring complex and compelling poems about the choices we make surrounding home, freedom, healing, partnership, and family. 

In a moment of critical struggle for reproductive justice, Maya Marshall’s haunting debut meditates on womanhood—with and without motherhood. Traversing familial mythography with an unflinching seriousness, Marshall moves deftly between contemporary politics, the stakes of race and interracial partnership, and the monetary, mental, and physical costs of adopting or birthing a Black child.

What is political poetry? How does history become lived experience? What does it mean to bear witness through writing?

Noor Hindi’s poems explore colonialism, religion, patriarchy and everything in between with sharp wit and innovative precision. Layered to reflect the intersections of her identity, while constantly interrogating this identity itself, her writing combines lyrical beauty with political urgency.

This collection is ultimately a provocation―on trauma, on art, on what it takes to change the world.

What is political poetry and linguistic activism? What does it mean to bear witness through writing? When language proves insufficient, how do we find and articulate a pathway forward? 

Dear God. Dear Bones. Dear Yellow. interrogates, subverts, and expands these questions through poems that are formally and lyrically complex, dynamic, and innovative. With rich intertextuality and an unwavering eye, Noor Hindi explores and interrogates colonialism, religion, patriarchy, and the complex intersections of her identity. 

Featuring her widely circulated poem, “Fuck Your Lecture on Craft, My People Are Dying,” this book is an incomparable force of fury and precision from a powerful and unstoppable poet. Noor Hindi’s collection is ultimately a provocation: on trauma, on art, and on what it takes to truly see the world for what it is/isn’t and change it for the better.

Marshall’s poems traverse familial mythography to investigate contemporary politics, Blackness, reproductive justice, and the stakes of race and interracial partnership, queerness, and love. With an unflinching seriousness she interrogates womanhood, meditates on race and queerness, and considers the monetary, mental, and physical costs of adopting or birthing a Black child.

This visceral and revelatory poetry collection tells the story of a family’s journey to flee the murderous reign of Uganda’s Idi Amin only to land in a racist American landscape. Wabuke digs deeply into a personal and ancestral history to bring these poems to life, articulating what it means to live in a Black female body navigating a diaspora haunted by British colonization and American enslavement.

There are trans people here in the past, the present, and the future. H. Melt’s writing centers the deep care, love, and joy within trans communities. This poetry collection describes moments of resistance in queer and trans history as catalysts for movements today. It honors trans ancestors and contemporary activists, artists, and writers fighting for trans liberation. There Are Trans People Here is a testament to the healing power of community and the beauty of trans people, history, and culture.

There are trans people here in the past, the present, and the future. H. Melt’s writing centers the deep care, love, and joy within trans communities. This poetry collection describes moments of resistance in queer and trans history as catalysts for movements today. It honors trans ancestors and contemporary activists, artists, and writers fighting for trans liberation. There Are Trans People Here is a testament to the healing power of community and the beauty of trans people, history, and culture.

Each day after school, Mohammed El-Kurd’s grandmother welcomed him at the door of his home with a bouquet of jasmine. Her name was Rifqa—she was older than Israel itself and an icon of Palestinian resilience.

With razor-sharp wit and glistening moral clarity, El-Kurd lays bare the brutality of Israeli settler colonialism. His poems trace Rifqa’s exile from Haifa to his family’s current dispossession in Sheikh Jarrah, Jerusalem, exposing the cyclical and relentless horror of the Nakba.

El-Kurd’s debut collection definitively shows that the Palestinian struggle is a revolution, until victory.

Penelope Alegria's Milagro is a retracing of parental lineage, a recount of the stories that course through the veins of family. The collection examines the effects of immigration from the perspective of both the immigrant and the immigrant’s child, investigating how the act of leaving reverbrates through generations. These poems echoe with fondness and longing, with love and sacrifice that reflects the first-generation American’s struggle to belong. Alegria writes about uncles, Peruvian cuisine and first boyfriends to show how what immigrants choose to leave behind is often what their children carry with them.

The long form poem is a practice of poetics in joy, gratitude, sadness, resilience and pain. This literary work serves as a practice of self-reflection and accountability in the wake of the prison system. This poem is dirge work acknowledging unjust atrocities, but reveling in our human resilience.

Smoking Lovely's explorations of poetry and the neoliberal city at the intersection of community and commodity. In this radically revised new edition, Perdomo shifts the poem into mostly second person, thereby further accentuating its self-reflexive and complex exploration of self-and/as-other, and of the simultaneous othering, commodification, and spectacularization of Afro-diasporic bodies and cultural forms.

Mahogany L. Browne’s evocative book-length poem explores the impacts of the prison system on both the incarcerated and the loved ones left behind.

I Remember Death by Its Proximity to What I Love is an expansive poetic meditation on who we think is bound by incarceration. The answer: all of us. Weaving personal narrative, case studies, and inventive form, Browne invokes the grief, pain, and resilience in the violent wake of the prison system. This poem is dirge work but allows us to revel in the intricacies of our human condition. Written by a beloved and prolific writer, organizer, and educator, this work serves as a practice of self-reflection and accountability. Browne steps into the lineage of Sonia Sanchez’s Does Your House Have Lions? with the precision of a master wordsmith and the empathy of an attentive storyteller.

Based on original reporting from West Africa and the United States, and the poet’s experiences as a doctor and journalist, If God Is A Virus charts the course of the largest and deadliest Ebola epidemic in history, telling the stories of Ebola survivors, outbreak responders, journalists and the virus itself. Documentary poems explore which human lives are valued, how editorial decisions are weighed, what role the aid industrial complex plays in crises, and how medical myths and rumor can travel faster than microbes.

These poems also give voice to the virus. Eight percent of the human genome is inherited from viruses and the human placenta would not exist without a gene descended from a virus. If God Is A Virus reimagines viruses as givers of life and even authors of a viral-human self-help book.

In this spellbinding debut, Los Angeles–born poet Janel Pineda sings of communal love and the diaspora and dreams for a liberated future. Lineage of Rain traces histories of Salvadoran migration and the US-sponsored civil war to reimagine trauma as a site for transformation and healing. With a scholar’s caliber, Pineda archives family memory, crafting a collection that centers intergenerational narratives through poems filled with a yearning to crystallize a new world—one unmarked by patriarchal violence. At their heart, many of these poems are an homage to women: love letters to mothers, sisters, and daughters.

Lineage of Rain moves from los campos de El Salvador to the firework-laden streets of South Gate to the riverbanks of England. Pineda’s masterful stroke weaves together these seemingly disparate worlds, illustrating the complicated reality of living as a first-generation student. As the speaker navigates elitism and the violence of the English language, she lays bare their ties to power. And yet, these poems rebel through revel, asking: how do we hold each other tenderly in a world replete with pain and many forms of violence? With dreams made possible through collective struggle, Pineda returns us to the seeds from which we bloom: family, history, and community. All the while, this collection never fails to capture often overlooked moments of joy—the mundane yet monumental—showing the reader that the world we dream is already ours. Through Lineage of Rain, Pineda emerges as a seminal contributor to the canon of Central American diasporic writing.

Smoking Lovely's explorations of poetry and the neoliberal city at the intersection of community and commodity. In this radically revised new edition, Perdomo shifts the poem into mostly second person, thereby further accentuating its self-reflexive and complex exploration of self-and/as-other, and of the simultaneous othering, commodification, and spectacularization of Afro-diasporic bodies and cultural forms.

Based on original reporting from West Africa and the United States, and the poet’s experiences as a doctor and journalist, If God Is A Virus charts the course of the largest and deadliest Ebola epidemic in history, telling the stories of Ebola survivors, outbreak responders, journalists and the virus itself. Documentary poems explore which human lives are valued, how editorial decisions are weighed, what role the aid industrial complex plays in crises, and how medical myths and rumor can travel faster than microbes.

These poems also give voice to the virus. Eight percent of the human genome is inherited from viruses and the human placenta would not exist without a gene descended from a virus. If God Is A Virus reimagines viruses as givers of life and even authors of a viral-human self-help book.

Dopplegangbanger, rendered as the A- and B-sides of an album of poems, re-imagines and remixes American politics of the 90s, the Obama era, and today via a hip-hop blerd's investigation of a hi/lo culture of American crime.

In his anticipated second poetry collection, Doppelgangbanger, Cortney Lamar Charleston examines the performance of Black masculinity in the U.S., and its relationship to family, love and community.

With the wit and musicality fitting of a 90s baby raised during the Golden age of hip-hop, Cortney Lamar Charleston grapples with the landscapes of Chicago’s South Side and surrounding suburbs, and the tensions that impact a Black boy’s struggle through self-destructive definitions of manhood. While the language in these poems is playful, Charleston’s vulnerability invites readers to intimately witness the speaker’s journey from adopted persona to an authentic self that defies traditional molds.

Pioneering Iraqi-Canadian rapper Yassin ‘Narcy’ Al Salman is a founding member of WeAreTheMedium, an international multi-media artist collective of Arab, African, and Indigenous artists and creators. ‘Text Messages’ is his survival guide, a multi-media collection about finding one’s self in the anxious intersections of a post-9/11 world, through a combination of poetry, rap verse, short stories and comic book illustrations. Text Messages is multi-form written exploration of the imminent crisis in technology, the pressures of self-awareness, and the meaning of Judgement Day. 

Text Messages is the first multi-genre collection by Montreal-based Iraqi hip-hop artist, activist, and professor Yassin "Narcy" Alsalman. Composed entirely on a smartphone during air travel and married to artwork from comrades, Narcy 's writing speaks of the existential crises experienced by diasporic children of war before and during imperialism in the age of the Internet.

Narcy 's verses span the space between hip-hop and manifesto, portraying a crumbling, end-stage capitalist society, visions for a new reality, and exposes the myth of multiculturalism in post-9/11 North America. The wordsmith hollows and transmogrifies the grotesque excess of the West by juxtaposing McLife with images of death, destruction, and trauma in the East.

From the depths of apathetic consumerism arises a voice of spiritual self-realization that explodes the misrepresented, mythical monolith of Islam in the West and with the rubble builds healing through intelligent resistance and radical love.

"Young boys and girls trapped in Walmarts-- our consumer interim camps. A family-friendly, discounted freedom. You don 't see what the Internet can 't. Not our land or home. Not your mans or holmes. Not your towers or domes. Not your power or drones."

Award-winning poet Cheryl Boyce-Taylor pays tribute to her departed son Malik ‘Phife Dawg’ Taylor of the legendary hip-hop trio A Tribe Called Quest in this intimate collection.


Mama Phife Represents is a hybrid-story that follows the journey of a mother’s grieving heart through her first two years of public and private mourning. Told through a tapestry of narrative poems, dreams, anecdotes, journal entries, and letters, these treasured fragments of their lives show a great love between mother and son. Artist and artist, teacher and friend. Cheryl Boyce-Taylor’s gift includes drawings, emails, hip-hop lyrics, and notes Malik wrote to his parents beginning at age eight. Both elegy and praise song, there is joy and sorrow, healing, and a mother’s triumphant heart that rises and blooms again. 

Mama Phife Represents has been awarded the 2022 Audre Lorde Award for Lesbian Poetry by The Publishing Triangle

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNext celebrates the embodied narratives of Latinidad.  Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space.  Like Hip-Hop, we honor what was, what is, and what's next.

Krista Franklin draws on Pan African histories, Black Surrealism, Afrofuturism, pop culture, art history, and the historical and present-day micro-to-macro violence inflicted upon Black people and other people of color, working to forge imaginative spaces for radical possibilities and visions of liberation. 

Featuring 30 poems, 30 artworks, an author statement and an interview, Too Much Midnight chronicles the intersections between art and life, art and writing, the historical and the speculative, cultural and personal identity, the magical and the mundane.

Mama Phife Represents is an arresting document of the body’s lowest depth of hurt, from a poet and mother who suddenly loses her son to Type 1 diabetes at the height of his musical career. It is a love letter from a grieving mother to her child.

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNEXT celebrates the embodied narratives of Latinidad.  Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space.  Like Hip-Hop, we honor what was, what is, and what's next.

“Can I kick it?”
“Yes you can!”
—A Tribe Called Quest

Situated squarely in the oral traditions of hip-hop and BreakBeat Poetry, Idris Goodwin’s work bridges the divide between the reader and the poet. Combining the tongue-in-cheek and the irreverent with the melancholy and incisive, Goodwin’s poetry samples and re-purposes pop-culture—from Back to the Future to Prince, Missy Elliot to Dominique Wilkins—in order to reflect and remix the stories we tell ourselves and each other in order to live.

“Can I kick it?”
“Yes you can!”
—A Tribe Called Quest

Situated squarely in the oral traditions of hip-hop and BreakBeat Poetry, Idris Goodwin’s work bridges the divide between the reader and the poet. Combining the tongue-in-cheek and the irreverent with the melancholy and incisive, Goodwin’s poetry samples and re-purposes pop-culture—from Back to the Future to Prince, Missy Elliot to Dominique Wilkins—in order to reflect and remix the stories we tell ourselves and each other in order to live.

Everything Must Go is an illustrated collection of poems in the spirit of a graphic novel, a collaboration between poet Kevin Coval and illustrator Langston Allston. The book celebrates Chicago’s Wicker Park in the late 1990’s, Coval’s home as a young artist, the ancestral neighborhood of his forebears, and a vibrant enclave populated by colorful characters. Allston’s illustrations honor the neighborhood as it once was, before gentrification remade it. The book excavates and mourns that which has been lost in transition and serves as a template for understanding the process of displacement and reinvention currently reshaping American cities.

“Camonghne Felix is a brilliant writer, thinker, imaginer, builder—a young leader who shifts and opens the possibilities for a more just, better lit world, with each step, each word, each question.” —Kathy Engel

This is about what grows through the wreckage. This is an anthem of survival and a look at what might come after. A view of what floats and what, ultimately, sustains.

Build Yourself a Boat redefines the language of collective and individual trauma through lyric and memory.

Camonghne Felix is a poet, political strategist, media junkie, and cultural worker. She received an MA in arts politics from NYU, an MFA from Bard College, and has received fellowships from Cave Canem, Callaloo, and Poets House. A Pushcart Prize nominee, she is the author of the chapbook Yolk and was listed by Black Youth Project as a “Black Girl from the Future You Should Know.”

NPR Best Books of 2019
Chicago Tribune Best Books of 2019
Chicago Review of Books Best Poetry Book of 2019
O Magazine Best Books by Women of Summer 2019
The Millions Must-Read Poetry of June 2019
LitHub Most Anticipated Reads of Summer 2019
The Chicago Race Riot of 1919, the most intense of the riots comprising the nation’s Red Summer, has shaped the last century but is not widely discussed. In 1919, award-winning poet Eve L. Ewing explores the story of this event—which lasted eight days and resulted in thirty-eight deaths and almost 500 injuries—through poems recounting the stories of everyday people trying to survive and thrive in the city. Ewing uses speculative and Afrofuturist lenses to recast history, and illuminates the thin line between the past and the present.

Everything Must Go is an illustrated collection of poems in the spirit of a graphic novel, a collaboration between poet Kevin Coval and illustrator Langston Allston.

The book celebrates Chicago's Wicker Park in the late 1990's, Coval's home as a young artist, the ancestral neighborhood of his forebears, and a vibrant enclave populated by colorful characters. Allston's illustrations honor the neighborhood as it once was, before gentrification remade it.

The book excavates and mourns that which has been lost in transition and serves as a template for understanding the process of displacement and reinvention currently reshaping American cities.

“Camonghne Felix is a brilliant writer, thinker, imaginer, builder—a young leader who shifts and opens the possibilities for a more just, better lit world, with each step, each word, each question.” —Kathy Engel

This is about what grows through the wreckage. This is an anthem of survival and a look at what might come after. A view of what floats and what, ultimately, sustains.

Build Yourself a Boat redefines the language of collective and individual trauma through lyric and memory.

Camonghne Felix is a poet, political strategist, media junkie, and cultural worker. She received an MA in arts politics from NYU, an MFA from Bard College, and has received fellowships from Cave Canem, Callaloo, and Poets House. A Pushcart Prize nominee, she is the author of the chapbook Yolk and was listed by Black Youth Project as a “Black Girl from the Future You Should Know.”

NPR Best Books of 2019
Chicago Tribune Best Books of 2019
Chicago Review of Books Best Poetry Book of 2019
O Magazine Best Books by Women of Summer 2019
The Millions Must-Read Poetry of June 2019
LitHub Most Anticipated Reads of Summer 2019
The Chicago Race Riot of 1919, the most intense of the riots comprising the nation’s Red Summer, has shaped the last century but is not widely discussed. In 1919, award-winning poet Eve L. Ewing explores the story of this event—which lasted eight days and resulted in thirty-eight deaths and almost 500 injuries—through poems recounting the stories of everyday people trying to survive and thrive in the city. Ewing uses speculative and Afrofuturist lenses to recast history, and illuminates the thin line between the past and the present.

Patricia Frazier’s Graphite is an ode to her grandmother and childhood home, the Ida B. Wells Projects, both which the poet lost to city- and state-sanctioned discrimination. The chapbook investigates loss and gentrification, particularly their effects on black young people from Chicago, whose political movement, resilience, and ability to make celebration after pain, drive these poems.

The collected poems dispel the notion that there is one correct way to be a Muslim by holding space for multiple, intersecting identities while celebrating and protecting those identities.

Halal If You Hear Me features poems by Safia Elhillo, Fatimah Asghar, Warsan Shire, Tarfia Faizullah, Angel Nafis, Beyza Ozer, and many others.

Fatimah Asghar is the creator of the Emmy-Nominated web series Brown Girls, now in development for HBO. She is the author of If They Come For Us and a recipient of a 2017 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship. She is a member of the Dark Noise Collective and a Kundiman fellow. In 2017, she was listed on Forbes’s 30 Under 30 list.

Safia Elhillo is the author of The January Children. Sudanese by way of Washington, DC and a Cave Canem fellow, she holds an MFA from the New School. In 2018, she was awarded a Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation.

“Citizen Illegal is right on time, bringing both empathy and searing critique to the fore as a nation debates the very humanity of the people who built it.” —Eve Ewing, author of Electric Arches

In this stunning debut, poet José Olivarez explores the stories, contradictions, joys, and sorrows that embody life in the spaces between Mexico and America. He paints vivid portraits of good kids, bad kids, families clinging to hope, life after the steel mills, gentrifying barrios, and everything in between. Drawing on the rich traditions of Latinx and Chicago writers like Sandra Cisneros and Gwendolyn Brooks, Olivarez creates a home out of life in the in-between. Combining wry humor with potent emotional force, Olivarez takes on complex issues of race, ethnicity, gender, class, and immigration using an everyday language that invites the reader in. Olivarez has a unique voice that makes him a poet to watch.

José Olivarez is the son of Mexican immigrants. He is a co-host of the podcast, The Poetry Gods. A winner of fellowships from Poets House, The Bronx Council On The Arts, The Poetry Foundation, and The Conversation Literary Festival, his work has been published in The BreakBeat Poets and elsewhere. He is the Marketing Manager at Young Chicago Authors.

E’mon Lauren’s poems take artifacts, language, and ephemera from life on Chicago’s Southside and Westside to create a manifesto of survival and growth. These poems from Chicago’s first Youth Poet Laureate grapple with sexism, racism, love, and class with a style that announces Lauren as a poet to watch.

Commando is an aesthetic stick up, hallelujahs in a handbag with a handgun. The first collection from the city's first youth poet laureate is a manifesto for a solider at war.

“Citizen Illegal is right on time, bringing both empathy and searing critique to the fore as a nation debates the very humanity of the people who built it.” —Eve Ewing, author of Electric Arches

In this stunning debut, poet José Olivarez explores the stories, contradictions, joys, and sorrows that embody life in the spaces between Mexico and America. He paints vivid portraits of good kids, bad kids, families clinging to hope, life after the steel mills, gentrifying barrios, and everything in between. Drawing on the rich traditions of Latinx and Chicago writers like Sandra Cisneros and Gwendolyn Brooks, Olivarez creates a home out of life in the in-between. Combining wry humor with potent emotional force, Olivarez takes on complex issues of race, ethnicity, gender, class, and immigration using an everyday language that invites the reader in. Olivarez has a unique voice that makes him a poet to watch.

José Olivarez is the son of Mexican immigrants. He is a co-host of the podcast, The Poetry Gods. A winner of fellowships from Poets House, The Bronx Council On The Arts, The Poetry Foundation, and The Conversation Literary Festival, his work has been published in The BreakBeat Poets and elsewhere. He is the Marketing Manager at Young Chicago Authors.

Black Queer Hoe is a refreshing, unapologetic intervention into ongoing conversations about the line between sexual freedom and sexual exploitation.

Women’s sexuality is often used as a weapon against them. In this powerful debut, Britteney Black Rose Kapri lends her unmistakable voice to fraught questions of identity, sexuality, reclamation, and power, in a world that refuses Black Queer women permission to define their own lives and boundaries.

Britteney Black Rose Kapri is a Chicago performance poet and playwright. Currently she is an alumna turned Teaching Artist Fellow at Young Chicago Authors. Her work has been featured in Poetry Magazine, Button Poetry, Seven Scribes, and many other outlets, and anthologized in The BreakBeat Poets and The BreakBeat Poets Vol. 2: Black Girl Magic. She is a contributor to Black Nerd Problems, a Pink Door Retreat Fellow, and a 2015 Rona Jaffe Writers Award Recipient.

Black Queer Hoe is a refreshing, unapologetic intervention into ongoing conversations about the line between sexual freedom and sexual exploitation.

Women’s sexuality is often used as a weapon against them. In this powerful debut, Britteney Black Rose Kapri lends her unmistakable voice to fraught questions of identity, sexuality, reclamation, and power, in a world that refuses Black Queer women permission to define their own lives and boundaries.

Britteney Black Rose Kapri is a Chicago performance poet and playwright. Currently she is an alumna turned Teaching Artist Fellow at Young Chicago Authors. Her work has been featured in Poetry Magazine, Button Poetry, Seven Scribes, and many other outlets, and anthologized in The BreakBeat Poets and The BreakBeat Poets Vol. 2: Black Girl Magic. She is a contributor to Black Nerd Problems, a Pink Door Retreat Fellow, and a 2015 Rona Jaffe Writers Award Recipient.

“[The BreakBeat Poets is] one of the most diverse and important poetry anthologies of the last 25 years.”—Latino Rebels

Black Girl Magic continues and deepens the work of the first BreakBeat Poets anthology by focusing on some of the most exciting Black women writing today. This anthology breaks up the myth of hip-hop as a boys’ club, and asserts the truth that the cypher is a feminine form.

Poet and vocalist Jamila Woods was raised in Chicago, and graduated from Brown University, where she earned a BA in Africana Studies and Theatre & Performance Studies. Influenced by Lucille Clifton and Gwendolyn Brooks, much of her writing explores blackness, womanhood, and the city of Chicago.

Mahogany L. Browne is a Cave Canem and Poets House alumna and the author of several books including Smudge and Redbone. She directs the poetry program of the Nuyorican Poets Café.

Idrissa Simmonds is a fiction writer and poet. Her work has appeared in Black Renaissance Noire, The Caribbean Writer, Fourteen Hills Press, and elsewhere. She is the 2014 winner of the Crab Creek Review poetry contest, and a New York Foundation for the Arts and Commonwealth Short Story Award Finalist.

“[The BreakBeat Poets is] one of the most diverse and important poetry anthologies of the last 25 years.”—Latino Rebels

Black Girl Magic continues and deepens the work of the first BreakBeat Poets anthology by focusing on some of the most exciting Black women writing today. This anthology breaks up the myth of hip-hop as a boys’ club, and asserts the truth that the cypher is a feminine form.

Poet and vocalist Jamila Woods was raised in Chicago, and graduated from Brown University, where she earned a BA in Africana Studies and Theatre & Performance Studies. Influenced by Lucille Clifton and Gwendolyn Brooks, much of her writing explores blackness, womanhood, and the city of Chicago.

Mahogany L. Browne is a Cave Canem and Poets House alumna and the author of several books including Smudge and Redbone. She directs the poetry program of the Nuyorican Poets Café.

Idrissa Simmonds is a fiction writer and poet. Her work has appeared in Black Renaissance Noire, The Caribbean Writer, Fourteen Hills Press, and elsewhere. She is the 2014 winner of the Crab Creek Review poetry contest, and a New York Foundation for the Arts and Commonwealth Short Story Award Finalist.

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

Lorraine Hansberry and Gwendolyn Brooks appear throughout these poems, 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. 

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 and time where she can live safely and freely. With her skillful use of repetition, particularly in 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.

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.

WINNER OF THE AMERICAN BOOK AWARD

Powerhouse, world-renowned LGBTQ poet and spoken-word artist Staceyann Chin curates the first full-length collection of her poems.

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.”

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.”