Milk Black Carbon works against the narratives of dispossession and survival that mark the contemporary experience of many indigenous people, and Inuit in particular. In this collection, autobiographical details – motherhood, marriage, extended family and its geographical context in the rapidly changing arctic – negotiate arbitrary landscapes of our perplexing frontiers through fragmentation and interpretation of conventional lyric expectations.

In Spirit Boxing, Weaver revisits his working class core. The veteran of fifteen years as a factory worker in his native Baltimore, he mines his own experience to build a wellspring of craft in poems that extend from his life to the lives that inhabit the whole landscape of the American working class. He writes with an intimacy that is unique in American poetry, and echoes previous comparisons of his oeuvre to that of Walt Whitman. The singularity of his voice resonates here through the prism of his realization of self through a lifelong project of the integration of American and Chinese culture. The work is Daoist in influence and structure as it echoes both a harmonic realization of context and the intuitive and transcendent dance of body, mind, and spirit.

The Work-Shy documents a secret network of overlooked communities that work in ways that defy work as we know it. Its poetic assemblages offer direct testimony from the first youth prison in California (the Whittier State School) and from asylums for the chronically insane (preserved in the Prinzhorn Collection in Germany and the Creedmoor Psychiatric Center in New York City). Activating what poet Susan Howe calls “the telepathy of the archive,” these poems occupy identities rooted in the demimonde and in places of confinement; they build portraits of individuals at once denied work and subjected to its punishing routine. As “translations” of apparently unredeemable texts, the poems convert the dubious paradigms of degeneracy, solipsism, and madness into a mutable archive of infidel culture. Published under the collective, anonymous signature of the BLUNT RESEARCH GROUP, this work nevertheless harbors the proper name of every voice it records. By converting the procedures of appropriation and sampling into a poetics of close listening, The Work-Shy operates at the crossroads of lyric and documentary poetries, of singularity and collectivism. An online readers companion will be available at bluntresearchgroup.site.wesleyan.edu.

Bertrand Russell finds himself in purgatory, tumbling through literal representations of the worlds of ideas he examined in his classic text, A History of Western Philosophy, gulping much-needed air, for example, from Empedocles' bucket. Mistaking his erection for a planted flag, he declares the place Platonopolis, attempts to calculate his Pythagorean number, kills God (though he later sees evidence of His resurrection), and, Rousseau-like, turns away from reason and civilization, favoring the noble savage, only to march back into the concrete jungle as one of Nietzsche's savage nobles. In the end, however, he is all jumbled up and clucking like Einstein's cuckoo clock, until he perceives philosophy as music, hears its arguments as a symphonic procession of the electrochemical pulses produced within three-pound lumps—lumps self-amalgamated from the vomitus of stars—and revises his History.

Winner of the 2015 Donald Hall Prize for PoetryHour of the Ox received the 2015 AWP Donald Hall Prize for Poetry, selected by Crystal Ann Williams, who called it "a timeless collection written by a poet of exceptional talent and grace, a voice as tough as it is tender." Cancio-Bello examines the multiplicity of distance, wanderlust, and grief at the intersection between filial and cultural responsibility. Desires are sloughed off, replaced by new ones, re-cultivated as mythos. These poems offer a complex and necessary new perspective on the elegiac immigrant song.

The poems in Showtime at the Ministry of Lost Causes are survival songs, the tunes you whistle while walking through the Valley of Shadows, to keep your fears at bay and your spirit awake. The shadows here are many—cancer, poverty, a lost love, famine, suicide, war, an ever-encroaching existential angst. But so are the saving graces—a drag queen waitress whose "painted-on eyebrows arched like a bridge / toward starlight," "strawberries / grown fat around dimpled gold seeds," Pink Floyd's "'On the Turning Away' sent through my car / radio like the ghost voice of a beloved long dead," black phoebes rattling "winter / thistles, swollen throats percussing: / this is this is this is . . . " Showtime at the Ministry of Lost Causes reminds us that where there is shadow there must, necessarily, also be light.

Winner of the 2015 Agnes Lynch Starrett Poetry Prize Miriam Bird Greenberg's stunning first collection, which roves across a lush, haunting rural America both real and imagined, observed from railyards and roadsides, evokes the world of myth ("I'd spent my childhood / in a house made of bees; on hot days honey // dripped through cracks in the ceiling," she writes). Yet these capacious, exquisitely tensioned poems are rooted in Greenberg's experiences hitchhiking and hopping freight trains across North America, or draw from her informal interviews with contemporary nomads, hobos, and others living on society's edges. Beneath their surface runs a current of violence, whether at the hands of fate or men: she writes "Everyone knows // what happens to women // who hitchhike, constantly // trying a door to the other world made of lake / bottom or low forest, abandoned house // even wild animals / have rejected. " The result is a queering of On the Road, a feminist Frank Stanford at once vulnerable and canny. Richly textured, In the Volcano's Mouth is an extraordinary portrait of life on the enchanted margins.

In his third poetry collection, Primer, Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die.

Star Journal is a selection of poems from Christopher Buckley's twenty previous collections, from 1980-2014.Past praise from Philip Levine: "The poems are modest, straight forward, intensely lyrical and totally accessible. .

“These poems erupted in the East Greenlanders heart–the human sea at the outer limit of the north–on Earth's most desolate and rugged shores. They were found in the living tradition of a small, recently discovered Eskimo people that I (Thalbitzer) had gone to study. For the first time I heard their language as it sounded on people's lips, as it must have sounded through many generations. I understood that this was part of the Inuit people’s ancient poetry, and these songs and poems deserved to be written down for greater humanity.” —from the introduction

Archeophonics is the first collection of new work from the poet Peter Gizzi in five years. Archeophonics, defined as the archeology of lost sound, is one way of understanding the role and the task of poetry: to recover the buried sounds and shapes of languages in the tradition of the art, and the multitude of private connections that lie undisclosed in one’s emotional memory. The book takes seriously the opening epigraph by the late great James Schuyler: “poetry, like music, is not just song. ” It recognizes that the poem is not a decorative art object but a means of organizing the world, in the words of anthropologist Clifford Geertz, “into transient examples of shaped behavior.” Archeophonics is a series of discrete poems that are linked by repeated phrases and words, and its themes and nothing less than joy, outrage, loss, transhistorical thought, and day-to-day life. It is a private book of public and civic concerns. An online reading companion is available at petergizzi.site.wesleyan.edu.

The Little Edges is a collection of poems that extends poet Fred Moten’s experiments in what he calls “shaped prose”—a way of arranging prose in rhythmic blocks, or sometimes shards, in the interest of audio-visual patterning. Shaped prose is a form that works the “little edges” of lyric and discourse, and radiates out into the space between them. As occasional pieces, many of the poems in the book are the result of a request or commission to comment upon a work of art, or to memorialize a particular moment or person. In Moten’s poems, the matter and energy of a singular event or person are transformed by their entrance into the social space that they, in turn, transform. An online reader’s companion is available at http://fredmoten.site.wesleyan.edu.

One of the most notable members of the New York School—and its best-known woman—Barbara Guest began writing poetry in the 1950s in company that included John Ashbery, Kenneth Koch, Frank O’Hara, and James Schuyler. And from the beginning, her practice placed her at the vanguard of American writing. Guest’s poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest’s remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing—seemingly simple, but truly and beautifully dislocating.

First published in 1979, Common Sense evinces a spare street-wise style rooted in the vernacular of the city. Now something of a cult classic, the book is recognized as an understated masterpiece, pushing at the edges of spoken word. This is the language of everyday, brought onto the page in such a way that we never lose the flow of speech and at the same time we become attuned to its many registers—musical, emotional, ironic. Ted Greenwald’s work has been associated with several major veins of American poetry, including the Language movement and the New York School, but it remains unclassifiable. An online reader’s companion will be available at tedgreenwald.site.wesleyan.edu.

This collection of Ted Greenwald’s poetry, edited by Miles Champion, is a sampler of some of Greenwald’s most breathtaking work. A New York poet with close ties to the New York School and the Language poets, Greenwald has written daily since the early 1960s, and none of the poems in this book are included in any of his books to date. These discrete works were written in advance of or alongside the extended explorations of a mutated triolet form that increasingly occupied him from the late 1970s on. This book can be seen as a companion to Common Sense, and provides further evidence of Greenwald’s ability to think with his ear, to hear what’s said as it arrives as a fresh sound or shape in his head. This work is singular in its pattern-making, its music-making, and its ability to simultaneously follow multiple paths. An online reader’s companion will be available at tedgreenwald.site.wesleyan.edu

Praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century . .