Joshua "Josh" Gibson (1911–1947) is a baseball legend - one of the greatest power hitters in the Negro Leagues, and in all of baseball history. At the height of his career, this trailblazing athlete suffered grueling physical ailments, lost his young wife who died giving birth to their twins, and endured years of Jim Crow–era segregation and discrimination - all the while breaking records on the ball field. Dorian Hairston's debut poetry collection explores the Black American experience through the lens of Gibson's life and seventeen-year baseball career, which culminated in his posthumous election to the Baseball Hall of Fame in 1972. Hairston brilliantly reconstructs the personas of Gibson and others in his orbit whose encounters with white supremacy interweave with the inevitability of losing loved ones. By alternating between the perspectives of Gibson, members of his family, and contemporary Black baseball players, Hairston captures the complexity and the pain of living under the oppressive weight of grief and racial discrimination. Emotive, prescient, and absorbing, these powerful poems address social change, culture, family, race, death, and oppression—while honoring and giving voice to Gibson and a voiceless generation of African Americans.

The Safety of Small Things meditates on mortality from a revealing perspective. Images of stark examination rooms, the ravages of chemotherapy, biopsies, and gel-soaked towels entwine with remembrance to reveal grace and even beauty where they are least expected. Jane Hicks captures contemporary Appalachia in all of its complexities: the world she presents constantly demonstrates how the past and the present (and even the future) mingle unexpectedly. The poems in this powerful collection juxtapose the splendor and revelation of nature and science, the circle of life, how family and memory give honor to those we've lost, and how they can all fit together. This lyrical and contemplative yet provocative collection sings a song of lucidity, redemption, and celebration.

Octobers traces the four great tumults of the author’s life, all of which originated in that jagged month of different years: The US invasion and occupation of her native Afghanistan, the death of her father, the sudden end of a love, and the birth of her daughter. The poems chart heartbreak along a helix, progressively and recursively, where “echoes are inevitable.” Ultimately, the collection is concerned with language - as witness and buoy in the white waters of loss, as a tool for violences small and state-crafted, as an asymptote both approaching ideas of “home” and estranged from it, and, beyond it all and still, as a source of wild wonder.

Indispensable volume of previously unavailable poetry by an American masterBe Brave to Things shows legendary San Francisco Renaissance poet Jack Spicer at the top of his form, with his blistering intelligence, painful double-edged wit, and devastating will to truth everywhere on display. Much of the poetry here has never before been published, but the volume also includes much out-of-print or hard to find work, as well as Spicer's three major plays, which have never been collected. Here one finds major unfinished projects, early and alternate versions of well-known Spicer poems, shimmering stand-alone lyrics, and intricate extended "books" and serial poems. This new cache of Spicer material will be indispensable for any student of 20th century American poetry, proffering a trove of primary material for Spicer's growing readership to savor and enjoy."When your body brushed against me. . ."When your body brushed against me I rememberedHow we used to catch butterflies in our handsDown in the garden.We were such patient childrenFollowing them from flower to flowerWaiting and hoping.With our cupped hands we used to catch themAnd they answered us with a soft tickleFor they never stopped flying.In bed I remembered them and cried forThe touch of their fast wings, the impatienceOf their bright colorsI am too old for such gamesBut even tonight, now your body has reminded me of butterfliesI lie here awake, pretending.

Peter Gizzi's powerful new collection reminds us that the elegy is lament but also - as it has been for centuries - a work of loveIn Peter Gizzi's powerful new collection, we find, in the poet's words, that "the elegy is a mode that can transform a broken heart in a fierce world into a fierce heart in a broken world." For Gizzi, ferocity can be reimagined as vulnerability, bravery and discovery, a braiding of emotional and otherworldly depth, "a holding open." In Gizzi's voice joy and sorrow make a complex ecosystem. One of our foremost practitioners of the lyric, Gizzi here extends his mastery of the form. In their quest for a lyric reality, these poems remind us that elegy is lament but also - as it has been for centuries - a mode of love poetry as well. "This new poetry," Kamau Brathwaite has written about Gizzi, "taking such care of temperature - the time & details of the world - meaning the space(s) in which we live - defining love in this way. Writing along the edge. A way of writing about hope."[sample poem]Creely Songall that is lovelyin words, evenif gone to piecesall that is lovelygone, all of itfor love andautobiographyas if I werewriting thishello, listenthe plan isthe body andall of it for lovenow in piecesall that is lovelyechoes stillin life & deathstill memorygardens openonto windowslovely, the charmthat mirrorsall that was, allthat is, lovelyin a song

mahogany is about the passing of time and unimaginable loss, strength, humor, and lovemahogany takes its name from the dark wood prized for its durability, workability, and elegant look, and from the Diana Ross movie, whose theme song asks if what lies ahead is what you really want. This book is the third in a trilogy, and like the first two books it is steeped in pop music. Each poem here takes its title from a line of a Diana Ross and The Supremes song, as well as songs from Diana Ross' solo career. Short lines flow down the page like postmodern psalms, connecting dailyness to timelessness, merging the historical and the beloved through reverence for family, music, and the life we actually live. mahogany is a lament for the passing of time and unimaginable loss, and at the same time it models the daily search for joy, and the deep shine that can arise from the darkest times.

In Auction, her first poetry collection in eight years, the poet, novelist, and playwright Quan Barry travels the globe in her signature quest into the existential nature of experience. These poems explore the inner landscapes of both the human and animal realms, revealing them to be points along the same spectrum. At the heart of the book lies an extended study of toxic storytelling as an element of warcraft, but Barry also contemplates the death of a Buddhist master, the plight of migrants both at home and abroad, the ethics of travel and consumption, and the larger question of how and why we construct a self in order to navigate the world.

Winner of the Starrett PrizeAnuradha Bhowmik’s life as a Bangladeshi-born American girl growing up as a first-generation immigrant in the United States gives shape to this debut collection. Brown Girl Chromatography interrogates issues of race, class, gender, and sexuality in a post-9/11 America while navigating the poet’s millennial childhood, adolescence, and adulthood. The poems follow Bhowmik as she learns about the cruelties in both American and Bangladeshi worlds without any guidance or instruction on how to survive these conflicting spheres. Any visible traces of her Bangladeshi life result in racial ridicule from her peers, while participating and assimilating into American culture is met with violence and abuse at home. As language and memory intersect, Bhowmik draws on pop culture and free association to examine her displacement from many angles and make meaning out of hurt.

A rebuttal to Aeschylus’s Oresteia, Every Form of Ruin posits the Erinyes’ fury as righteous, understanding Clytemnestra’s rageful response to loss, and refusing Iphigenia’s relegation to a footnoted sacrifice. A fierce and darkly funny examination of anger, these lyrical poems push back against silencing by playing witness to a world where the experiences of women, nonbinary, and femme-identifying people are too often ignored, their responses dismissed as hysterical. These poems are also investigations into the loneliness of midlife; the search for one’s own self when that self has given its life to service. Every Form of Ruin counters our culture’s erasure of women and resists the categorizations of maiden, mother, crone by blurring those distinctions through the creation of voices that are moved by rage and resistance.BLACK THUMBThe dogwood was threateningto swallow the back garden’s light,so I borrowed a chainsaw and gas.Its last berries a memory of red, the fruitbitter, tiny angry mangos in the mouthof its killer. Nights my son chooses his fatherto read him into silence, I practice not lovinganything. Less like learning than remembering.As a child, I studied how to be a child.I was given a doll to care forbut could never remember its name.I left her face down everywhere.

A History of the Women’s Antifascism Movement in Argentina that Contains Lessons for Opposing Fascism Today Argentine women’s long resistance to extreme rightists, tyranny, and militarism culminated in the Junta de la Victoria, or Victory Board, a group that organized in the aftermath of the German invasion of the Soviet Union in defiance of the neutralist and Axis-leaning government in Argentina. A sewing and knitting group that provided garments and supplies for the Allied armies in World War II, the Junta de la Victoria was a politically minded association that mobilized women in the fight against fascism. Without explicitly characterizing itself as feminist, the organization promoted women’s political rights and visibility and attracted forty-five thousand members. The Junta ushered diverse constituencies of Argentine women into political involvement in an unprecedented experiment in pluralism, coalition-building, and political struggle. Sandra McGee Deutsch uses this internationally minded but local group to examine larger questions surrounding the global conflict between democracy and fascism.

Elton Glaser’s ninth book of poems is haunted by the loss of his wife, each April bringing back the memory of her death. The opening line confesses the struggle to find a language for this grief: “I’m learning to speak in the accents of adieu.” As the book progresses through the seasons, it evokes the places that remind him of their times together, in the South of their youths, in the Midwest of their long marriage, and in their travels here and abroad. And yet there is also another strain that keeps breaking through, the particulars of joy in family and the natural world, grandsons and “swaggering lilies,” and a swan like “a sullen bride in her white finery.” With an irrepressible wit and a music that enlivens his lines in both celebration and elegy, Glaser never forgets that, as Wallace Stevens said, “Memory without passion would be better lost.”

During the first decade of the century, Evo Morales and other leftists took control of governments across Latin America. In the case of Bolivia, Morales was that country’s first Indigenous president and was elected following five years of popular insurrection after decades of neoliberal governance. Now We Are in Power makes the argument that the so-called Pink Tide should be understood as a passive revolution, a process that has two phases: a period of subaltern struggle from average citizens strong enough to culminate in a political crisis, which is followed by a time of reconciliation and transformation. Angus McNelly examines this movement as it unfolded and evaluates how passive revolution plays out over a prolonged crisis, ultimately demonstrating the inherent contradictions and complications of the process.

Stop Lying is Aaron Smith’s most personal and vulnerable work yet. Revolving around the death of Smith’s mother and how the poet, a gay man, faces his upbringing where his sexuality was viewed as sinful and unnatural, these poems plumb the complexities of what families say and choose not to say. How does one grieve when a relationship will forever remain unresolved? What does it mean to both regret and not regret one’s decisions? What if survival doesn’t look like what we're told it should? This is the story of a poet pushing through present-day grief and the shame of the past to find the buried truths, the ones that are hardest to tell. 

Amid the din of Russia’s patriotic sentiments and Instagram instants, is there any room left for the voice of a poet? Despite the many entertainments and distractions of modern life, Anzhelina Polonskaya’s spare but cutting poems in Take Me to Stavanger declare a wholehearted “Yes.” This bilingual Russian-English volume makes a refuge for the poet and her readers, plumbing the depths of contemporary melancholy and ennui. Beautifully crafted idiosyncratic dissections of a strong individual who refuses to go along with the currents of popular culture or political jingoism invite readers to slow down and pay attention.

That Ship Has Sailed synthesizes the serious and comic to address sex, love, loss, death, belief, the afterlife, and the past. The poems are honest and direct without sacrificing “the uncertainties, mysteries, and doubts” that Keats singles out in his notion of “negative capability,” alluded to in the title poem. Amplified by the poet’s work as a traditional Irish musician and composer, language is the adhesive that brings the work together across the avant-garde to traditional forms and meters.

Change arises as something both desired and mourned in poems that reckon with a world where perspectives blur, names drift “billowing, unattached,” and language yields a broken music. A statue of Lenin topples in a Georgian square only to be raised again in a Dallas backyard. Antlers sprout from Actaeon’s head, rendering him unrecognizable to the dogs he loves. Ungainly piano notes pour from a window and wake unexpected wonder in a lost walker. A forest grows inside a box that once held a father’s new pair of shoes. Skylab slips from its watchful orbit and careens toward Earth. A familiar chair once owned by a now absent family appears in a field of wild parsnips. Meditative and richly imaginative, these poems cast and recast the self and its relation to other selves, and to memory, history, power, and the natural world.