Wayward nights out that don’t go as planned; the righteous anger at those men with no talent or skill or smarts who occupy the most powerful positions in the world; the strange banality of madness and, of course, the hurt and indecision of unrequited love.For every woman surviving and thriving in today’s world, for every girl who feels too much; this is a call for communion, and you are not alone.

    In these fierce yet tender narrative poems, Thom draws from both memory and mythology to create new maps of gender, race, sexuality, and violence. Descended from the traditions of oral storytelling, spoken word, and queer punk, Thom's debut collection is evocative and unforgettable.Kai Cheng Thom is a trans writer and performance artist whose work has been published in Buzzfeed, Autostraddle, Asian American Literary Review, and xoJane. She writes regularly for Everyday Feminism.

    It’s not something they say. It’s something about their hands, the shape of their mouths, the way they look walking away from you."A collection that will beg you to be dogeared, coffee-stained, & shared.”—Amanda Lovelace, author of the princess saves herself in this oneHoneybee is an honest take on walking away and still feeling like you were walked away from. It’s about cutting love loose like a kite string and praying the wind has the decency to carry it away from you. It’s an ode to the back and forth, the process of letting something go but not knowing where to put it down. Honeybee is putting it down. It’s small town girls and plane tickets, a taste of tenderness and honey, the bandage on the bee sting. It’s a reminder that you are not defined by the people you walk away from or the people who walk away from you."A spine tingling, heart wrenching, goosebumps-across-your-skin experience."—Nikita Gill, author of Fierce FairytalesPerfect for fans of Caroline Kaufman, Atticus, Clementine von Radics, Nina LaCour, Adam Silvera, and Becky Albertalli; or anyone interested in bisexuality, heartbreak, running away from your problems, and coming out.Look for Trista Mateer's other book of poetry, Aphrodite Made Me Do It and her contribution to [Dis]Connected Volume 1: Poems & Stories of Connection and Otherwise.

    Rather than offer yet another account of ‘the Aboriginal problem’, she theorises a strategy for living in a society that has only ever imagined Indigenous peoples as destined to die out.Drawing on her own experiences and observations of the operations of the colony, she exposes the lies that settlers tell about Indigenous people. In refusing such stories, Chelsea narrates her own: fierce, personal, sometimes funny, sometimes anguished. She speaks not of fighting back but of standing her ground against colonialism in academia, in court and in the media. It’s a stance that takes its toll on relationships, career prospects and even the body.Yet when told to have hope, Watego’s response rings clear: Fuck hope. Be sovereign.

    In verse that deals with sexual assault, mental illness, and body acceptance, Ms. Lambert's Shame Is an Ocean I Swim Across emerges as an important new voice in poetry, providing strength and resilience even in the darkest of times.

    You won’t find it in books. And you certainly won’t find it in the neighborhood. This is just the beginning of Joy Castro’s unmoored life of searching and striving that she’s turned to account with literary alchemy in Island of Bones. In personal essays that plumb the depths of not-belonging, Castro takes the all-too-raw materials of her adolescence and young adulthood and views them through the prism of time. The result is an exquisitely rendered, richly detailed perspective on a uniquely troubled young life that reflects on the larger questions each of us faces in a world where diversity and singularity are forever at odds. In the experiences of her past—hunger and abuse, flight as a fourteen-year-old runaway, single motherhood, the revelations of her “true” ethnic identity, the suicide of her father—Castro finds the “jagged, smashed place of edges and fragments” that she pieces together to create an island all her own. Hers is a complicated but very real depiction of what it is to “jump class,” to not belong but to find one’s voice in the interstices of identity.

    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.

    More than a collection of poems, this book serves as a survival guide for anyone who has ever been a daughter. Knotted with gritty tales of addiction, mental illness, and girlhood, Redhead and the Slaughter King is the prequel to every time someone asked the question, “how the hell did I end up here?”

    . . This book is pithy, it's smart. I'm glad it exists." —Fariha Róisín, author of Like a Bird  Essays by an emerging writer that touch on themes of family, culture, body image, sex, and feminism Besharam roughly translates to "shameless" in Hindi. This collection from Indian writer Priya-Alika Elias is a bold, sassy, and brilliantly written book on love, dating, body image, consent, and other issues that women today relate to and men should be thinking about.  Elias reflects on, and challenges, the ideas of how women are told by society to be humble, obedient, and ashamed of their actions and desires.  Her writing is fresh, feminist, and thought-provoking, disrupting taboos and exploring what it means to be a young woman in today's world.

    Strongly political, the poem touches on issues of racism, intolerance, and environmental destruction, amongst others.

    These intimate moments serve as windows onto a world of innocent voyeurism and surreal misunderstanding, as Lange’s family learns to live with the eccentric little spy in their midst—and vice versa. Lange recalls her older sister bathing nude in the moonlight, she recalls the death of a horse, she recalls how she cried when she was lifted onto a table and dressed as a boy, and yet how she laughed when climbing onto the roof in men’s clothing to throw bricks.Through a veneer of comforting domesticity, these “notes” show us childhood at its most elemental: a laboratory of life in which strangeness, joy, terror, and eroticism combine and collide.

    In this sequence of memoir-esque poems, Sierra DeMulder pulls at the threads of a past abusive relationship and the long road to forgiveness. The poems themselves become an act of recovery and reclamation, wherein the poet finds again the voice which was taken from her. These are hard poems, made up of clarity and healing, which attempt to share some of their peace with the world.

    A passionate exploration of the forces that shape us, The Last Love Poem I Will Ever Write explores themes of survival and the powerlessness of the self in a chaotic and unfair world, finding hope in the emotions and vitality of poetry. With characteristic meditative lyricism, the poet reflects on grief and the power of language in extended odes (“Ode to Nothing,” “Ode to Words”) and slips effortlessly from personal trauma (“Song of What Happens”) to public catastrophe (“Charlottesville Elegy”).The Last Love Poem I Will Ever Write confirms Orr’s place among the preeminent lyric poets of his generation, engaging the deepest existential issues with wisdom and humor and transforming them into celebratory song.

    Koleka Putuma's exploration of blackness, womxnhood and history in Collective Amnesia is fearless and unwavering. Her incendiary poems demand justice, insist on visibility and offer healing. In them, Putuma explodes the idea of authority in various spaces - academia, religion, politics, relationships - to ask what has been learnt and what must be unlearnt. Through grief and memory, pain and joy, sex and self-care, Collective Amnesia is a powerful appraisal, reminder and revelation of all that has been forgotten and ignored, both in South African society, and within ourselves.

    Ranging from justice to love, community action to personal reflection, A Love Song, A Death Rattle, A Battle Cry is a dedication to a craft. Clocking in before the rest of us are even awake, the book wastes no time. It does the work and beckons you to follow. A compilation of poems, lyrics and essays from the UN presenter, MC, and two-time National Poetry Slam champion, this book is a love song tucked into a grenade, a necessary call that demands a response.