*Shortlisted for the Forward Prize for Best First Collection 2019*Jay Bernard’s extraordinary debut is a fearlessly original exploration of the black British archive: an enquiry into the New Cross Fire of 1981, a house fire at a birthday party in south London in which thirteen young black people were killed.Dubbed the ‘New Cross Massacre’, the fire was initially believed to be a racist attack, and the indifference with which the tragedy was met by the state triggered a new era of race relations in Britain.Tracing a line from New Cross to the ‘towers of blood’ of the Grenfell fire, this urgent collection speaks with, in and of the voices of the past, brought back by the incantation of dancehall rhythms and the music of Jamaican patois, to form a living presence in the absence of justice.A ground-breaking work of excavation, memory and activism – both political and personal, witness and documentary – Surge shines a much-needed light on an unacknowledged chapter in British history, one that powerfully resonates in our present moment.

    Sometimes erotic and personal, sometimes historical and grand, sometimes witty and full of surprises, the poems here are all beautifully crafted works that are as varied in style as the poems in Duffy's earlier acclaimed volume The World's Wife. Together, they will challenge and entertain as they explore the fullness of the female condition through their author's unique poetic voice.

    Rooted in the loss of one of Smith’s close friends, this book comes out of the search for joy and intimacy within a nation where both can seem scarce and getting scarcer. In poems of rare power and generosity, Smith acknowledges that in a country overrun by violence, xenophobia, and disparity, and in a body defined by race, queerness, and diagnosis, it can be hard to survive, even harder to remember reasons for living. But then the phone lights up, or a shout comes up to the window, and family—blood and chosen—arrives with just the right food and some redemption. Part friendship diary, part bright elegy, part war cry, Homie is the exuberant new book written for Danez and for Danez’s friends and for you and for yours.

    . . a work of great beauty and moral imagination," In Another Place, Not Here tells of two contemporary Caribbean women who find brief refuge in each other on an island in the midst of political uprising. Elizete, dreaming of running to another place to escape the harshness of her daily life on the island, meets Verlia, an urban woman in constant flight who has returned to her island birthplace with hopes of revolution. Their tumultuous story moves between city and island, past and future, fantasy and reality.

    They explore the richness of her cultural and linguistic heritage, which spans the globe from Mexico to the Philippines. They defend with vigor and humor the color purple. And they analyze the insecurities of the letter ′h′ -- among other things.For thirty years, the National Poetry Series has discovered many new and emerging voices and has been instrumental in launching the careers of poets and writers such as Billy Collins, Mark Doty, Denis Johnson, Cole Swensen, Thylias Moss, Mark Levine, and Dionisio Martinez.

    Influenced by everyday moments of Washington, DC living, the poems live outside of the outside and beyond the language of categorical difference, inviting anyone listening to listen a bit closer. Inheritance is about the self’s struggle with definition and assumption.

    What Alex doesn’t know is that in moving, Priya is running from her past—from a fraught relationship with an old friend, Prakash, who pursued her for many years, both online and off. Time has passed, however, and Priya, confident that her ties to Prakash have been successfully severed, decides it’s once more safe to establish an online presence. In no time, Prakash discovers Priya online and contacts her. Impulsively, inexplicably, Priya invites him to visit her and Alex in the country, without ever having come clean with Alex about their relationship— or its tumultuous end. Prakash’s sudden arrival at their home reveals cracks in Priya and Alex’s relationship and brings into question Priya’s true intentions.Seductive and tension-filled, Polar Vortex is a story of secrets, deceptions, and revenge. It asks readers: Are we ever free from our pasts? Do we deserve to be?

    It is a voice thick with the humidity and whirring cicadas of Kentucky, but the poems are dangerous, smelling of the crisp cucumber scent of a copperhead about to strike. Epistolary in nature, and with a novel's arc, Sister is a story that begins with a teen giving birth to a baby girl--the narrator--during a tornado, and in some ways, that tornado never ends. In the hands of a lesser poet, this debut collection would be a standard-issue confession, a melodramatic exercise in anger and self-pity. But melodrama requires simple villains and victims, and there is neither in this richly complex portrait. Ultimately, Sister is more about the narrator's transgressions and failures, more about her relationships to her sister and their mother than about that which divided them. With equal parts sass and sorrow, these poems etch out survival won not with tender-hearted reflections but by smoking cigarettes through fly-specked screens, by using cans of aerosol hair spray as a makeshift flamethrowers, and, most cruelly, by leaving home and trying to forget her sister entirely. From there, each poem is a letter of explanation and apology to that younger sister she never knew.Sister recounts a return to a place that Brown never truly left. It is a book of forgiveness, of seeking what is beyond mere survival, of finding your way out of a place of poverty and abuse only to realize that you must go back again, all the way back to where everything began--that warm, dark nest of mother.

    Whether she is writing about an enraged teenager gone "wilding" in Central Park, fifteen-year-old Latasha Harlins gunned down by a Korean grocer, or a brutalized child who grows up to escape her probable fate through the miracle of art, Sapphire's vision in this collection of poetry and prose is unswervingly honest."Stunning . . . . One of the strongest debut collections of the '90s."--Publishers Weekly

    . . scared of what their loneliness may involve them in".--Publishers Weekly. When Ruby moves from the West Indies to the mean streets of Harlem, she finds a love that leads her through the painful transition from girl to woman.

    Gatwood's poems deftly deconstruct traditional stereotypes. The focus shifts from childhood to adulthood, gender to sexuality, violence to joy. And always and inexorably, the book moves toward celebration, culminating in a series of odes: odes to the body, to tough women, to embracing your own journey in all its failures and triumphs.

    Brian’s recounting of his experiences—in all their cringe-worthy, hilarious, and heartbreaking glory—reveal a perpetual outsider awkwardly squirming to find his way in.Indiscriminate sex and escalating drug use help to soothe his hurt, young psyche, usually to uproarious and devastating effect. A no-nonsense mother and broken father play crucial roles in our misfit’s origin story. But it is Brian’s voice in the retelling that shows the true depth of vulnerability for young Black boys that is often quietly near to bursting at the seams.Cleverly framed around Gwendolyn Brooks’s poem “We Real Cool,” the iconic and loving ode to Black boyhood, Punch Me Up to the Gods is at once playful, poignant, and wholly original. Broome’s writing brims with swagger and sensitivity, bringing an exquisite and fresh voice to ongoing cultural conversations about Blackness in America.

    To honor her work and call attention to the significance of her contributions, Firebrand Books is publishing a new, expanded edition of her classic, Movement In Black.With an incisive introduction by Cheryl Clarke, celebrations/ remembrances/tributes from ten outstanding African American women writers, and a dozen previously unpublished pieces, Movement In Black is a must read/ must have on your book shelf.Whether she was presenting her poetry on street corners, performing with other women -- writers, musicians, activists -- in bars and auditoriums, rallying the crowd at political events, preaching to the converted, or converting the ill-informed, Pat Parker was a presence.She wrote about gut issues: the lives of ordinary Black people, violence, loving women, the legacy of her African American heritage, being queer. She was a woman who engaged life fully, both personally and as a political activist, linking the struggles for racial, gender, sexual, and class equality long before it was "PC" to do so. She died as she lived -- fighting forces larger than herself.The publication of Movement In Black is an opportunity, both for those who were around the first time and those who are new to her work, to experience and enjoy Pat Parker's power.

    So begins Mary Oliver's twelfth book of poetry, and the image of that fiery bird stays with the reader, appearing in unexpected forms and guises until, in a postscript, he explains himself: "For truly the body needs / a song, a spirit, a soul. And no less, to make this work, / the soul has need of a body, / and I am both of the earth and I am of the inexplicable / beauty of heaven / where I fly so easily, so welcome, yes, / and this is why I have been sent, to teach this to your heart."This collection of sixty-one new poems, the most ever in a single volume of Oliver's work, includes an entirely new direction in the poet's work: a cycle of eleven linked love poems-a dazzling achievement. As in all of Mary Oliver's work, the pages overflow with her keen observation of the natural world and her gratitude for its gifts, for the many people she has loved in her seventy years, as well as for her disobedient dog, Percy. But here, too, the poet's attention turns with ferocity to the degradation of the Earth and the denigration of the peoples of the world by those who love power. Red Bird is unquestionably Mary Oliver's most wide-ranging volume to date.

    The work interrogates the social and linguistic space between regimes of power enacted on the body, and thereby the soul.