Phipps ruminates on the ways we are shaped as humans. Is it nature or nurture? Is it fate or a happen chance? What teaches us to love our generational inheritance, no matter how harmful? Phipps takes us to the most intimate parts of family matters in hopes of underantdatning conflict as a means of overcoming.

    It is a portrait of a ghetto saint - an ordinary man selected by the universe to bring enlightenment to poor belittled people.

    Subsequent essays include critical work on Gerard Manley Hopkins, William Wordsworth, John Keats, Robert Lowell, William Butler Yeats, John Montague, Patrick Kavanagh, Ted Hughes, Geoffrey Hill, and Philip Larkin.

    The words are redolent with his Cuban heritage: Marina making mole sauce; Tía Ida bitter over the revolution, missing the sisters who fled to Miami; his father, especially, “his hair once as black as the black of his oxfords…” Yet this is a volume for all who have longed for enveloping arms and words, and for that sanctuary called home. “So much of my life spent like this-suspended, moving toward unknown places and names or returning to those I know, corresponding with the paradox of crossing, being nowhere yet here.” Blanco embraces juxtaposition. There is the Cuban Blanco, the American Richard, the engineer by day, the poet by heart, the rhythms of Spanish, the percussion of English, the first-world professional, the immigrant, the gay man, the straight world. There is the ennui behind the question: why cannot I not just live where I live? Too, there is the precious, fleeting relief when he can write "…I am, for a moment, not afraid of being no more than what I hear and see, no more than this:..." It is what we all hope for, too.

    The long poem was the beginning of Cesaire's quest for negritude, and it became an anthem of Blacks around the world. With its emphasis on unusual juxtapositions of object and metaphor, manipulation of language into puns and neologisms, and rhythm, Cesaire considered his style a "beneficial madness" that could "break into the forbidden" and reach the powerful and overlooked aspects of black culture. Clayton Eshleman and Annette Smith achieve a laudable adaptation of Cesaire's work to English by clarifying double meanings, stretching syntax, and finding equivalent English puns, all while remaining remarkably true to the French text. Their treatment of the poetry is marked with imagination, vigor, and accuracy that will clarify difficulties for those already familiar with French, and make the work accessible to those who are not. Andre Breton's introduction, A Great Black Poet, situates the text and provides a moving tribute to C saire. Notebook of a Return to the Native Land is recommended for readers in comparative literature, post-colonial literature, African American studies, poetry, modernism, and French.

    Against the backdrop of the war on drugs and the 1992 Los Angeles Riots, a Korean girl comes of age in her parents' bodega in the Queensbridge projects, offering a singular perspective on our nation of immigrants and the tensions pulsing in the margins where they live and work.In Su Hwang's rich lyrical and narrative poetics, the bodega and its surrounding neighborhoods are cast not as mere setting, but as an ecosystem of human interactions where a dollar passed from one stranger to another is an act of peaceful revolution, and desperate acts of violence are "the price / of doing business in the projects where we / were trapped inside human cages--binding us / in a strange circus where atoms of haves / and have-nots always forcefully collide." These poems also reveal stark contrasts in the domestic lives of immigrants, as the speaker's own family must navigate the many personal, cultural, and generational chasms that arise from having to assume a hyphenated identity--lending a voice to the traumatic toll invisibility, assimilation, and sacrifice take on so many pursuing the American Dream."We each suffer alone in / tandem," Hwang declares, but in Bodega, she has written an antidote to this solitary hurt--an incisive poetic debut that acknowledges and gives shape to anguish as much as it cherishes human life, suggesting frameworks for how we might collectively move forward with awareness and compassion.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    It is an insightful, sensitive and poetic book of discovery.Drawing on cartography, travels, narratives of childhood in the Caribbean, journeys across the Canadian landscape, African ancestry, histories, politics, philosophies and literature, Dionne Brand sketches the shifting borders of home and nation, the connection to place in Canada and the world beyond.The title, A Map to the Door of No Return, refers to both a place in imagination and a point in history – the Middle Passage. The quest for identity and place has profound meaning and resonance in an age of heterogenous identities.In this exquisitely written and thought-provoking new work, Dionne Brand creates a map of her own art.

    Theatre script, playbook

    Sin comes a new voice, Samantha King’s raw, relatable poetry both celebrates love and mourns the human “curse to feel.” Her verse transports readers to the most private reaches of love and longing. Born to Love, Cursed to Feel is about love—the good, the bad, and the confusing. It touches on morals and how when emotions are involved it’s not as black and white. The poetry is frequently written in a narrative manner that evocatively pulls you in and makes you feel. This book is about falling in love, bad decisions, and ultimately growth. The essence of it all is to show that no matter how far one falls all the mistakes don’t have to be what defines them.

    In short unrelenting paragraphs, Adnan enumerates her personal struggle to conceptualize the breadth of her own life at 95, the process of aging, and the knowledge of her own inevitable death. The personal is continuously projected outwards and mirrored back through ruminations on climate catastrophe, California wildfires, the on-going war in Syria, planned missions to Mars, and the view of the sea from Adnan’s window in Brittany in a poignant often painful interplay between the interior and the cosmic.

     Written with incredible honesty and self-knowledge, Between the Lines is a stunning collection of poems from Céline Zabad. Ranging in length from a single line to full pages, her poems mimic at once the brevity and vastness of feeling. Her verse is at times as free as a cloud, other times as solid as stone. Her words are philosophies and feelings in their own rights, on love, loss, loyalty, betrayal, hope, and disappointment—on life. Zabad encapsulates the thrill of love’s first blush and the freezing burn of heartbreak. Her feelings flow freely throughout the collection, lending her poetry uncommon authenticity and power. Nature thrives between the lines of her verse, reminding the reader that tears are as natural as raindrops. Whether you’re looking for new ways to think about your own feelings or are simply passionate about poetry, you’ll find plenty to love in this collection. To better understand the complexities of emotion in yourself and others, you must read Between the Lines.

    The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life--not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.Hardcover is un-jacketed.

    Here, the poet holds his world in full focus but at an astonishing angle: from the violence of the seventeenth-century English Civil War as refracted through a mythic sea wanderer, right down to the dark interior of love.These poems arrange the contemporary continuum of home and abroad into a wonderment of cracked narrative sequences and tumultuous personae. With ears tuned to the vernacular, the collection vividly binds us to what is terrifying about happiness, loss, and the lure of the sea. House of Lords and Commons testifies to the particular courage it takes to wade unsettled, uncertain, and unfettered in the wake of our shared human experience.

    In her haunting eighth collection inspired by articles from the weekly “Science” section of the New York Times, Hahn explores identity, extinction, and survival using exotic tropes drawn from the realms of astrophysics, mycology, paleobotany, and other rarefied fields. With warmth and generosity, Hahn mines the world of science in these elegant, ardent poems.from “On Deceit as Survival”   Yet another species resembles   a female bumble bee,   ending in frustrated trysts—   or appears to be two fractious males   which also attracts—no surprise—   a third curious enough to join the fray.   What to make of highly evolved Beauty   bent on deception as survival—