. . . [Jamaal May's] poems, exquisitely balanced by a sharp intelligence mixed with earnestness, makes his debut a marvel."—Publishers WeeklyFollowing Jamaal May's award-winning debut collection, Hum (2013), these new poems explore parallel landscapes of the poet's interior and an insidious American condition. Using dark humor that helps illuminate the pains of maturity and loss of imagination, May uncovers language like a skilled archaeologist—digging up bones of the past to expose what lies beneath the surface of the fragile human condition.From: "Ask Where I've Been":Ask about the tornado of fists.The blows landed. If you canwatch it all—the spit and blood frozenagainst snow, you can probably tellI am the too-narrow road winding outof a crooked city built of laughter,abandon, feathers and drums.Ask only if you can watch streetlights bow,bridges arc, and power lines sag,and still believe what matters mostis not where I bendbut where I am growing.Jamaal May is a poet, editor, and filmmaker from Detroit, Michigan, where he taught poetry in public schools and worked as a freelance audio engineer and touring performer. His poetry won the 2013 Indiana Review Poetry Prize and appears in journals such as Poetry, Ploughshares, the Believer, NER, and the Kenyon Review. May has earned an MFA from Warren Wilson College as well as fellowships from Cave Canem and The Stadler Center for Poetry at Bucknell University. He founded the Organic Weapon Arts Chapbook Press.

    He was a passionate Welsh patriot, but also an outspoken critic of his countrymen. His poems are an expression of his lifelong argument with himself, of his insistent search for God. In them he grapples with ideas of Welshness, with issues of technology, pollution, the decline of culture. He wrote too about love, about landscape, nature and birds. His is an urgent, prophetic and unique voice.

    And if for any reason you do not believe in miracles, please start believing, because keeping my head above water in this indifferent society...is a miracle." Buchi Emecheta's autobiography spans the transition from a tribal childhood in the African bush to life in North London as an internationally acclaimed writer.

    Whether the focus of the individual poems is musical, digital, or historical, the otherness implicit in being of more than one racial background guides Matejka's work to the inevitable conclusion that all things-no matter how disparate-are parts of the whole.

    This collection introduces a fresh and bold voice into the rich current that is emerging from young African millennial artists.

    Song of Lawino is an African woman's lamentation over the cultural death of her western educated husband - Ocol. In Song of Ocol the husband tries to justify his cultural apostasy. The first was translated from Acholi by the author while the second was written in English.

    One is black, one white. Both are successful women with impressive careers. Both have recently been widowed. And both are sworn enemies, sharing hedge and hostility which they prune with a zeal that belies the fact that they are both over eighty.But one day an unforeseen event forces the women together. And gradually the bickering and sniping softens into lively debate, and from there into memories shared. But could these sparks of connection ever transform into friendship? Or is it too late to expect these two to change?

    Then open up Young Americans, seems obvious what Jordan Castro is doing is revolutionary, he expressing emotions through poetry that have never been done before. The style, the way the subject matter is portrayed, even the meter, are new." - Noah Cicero (author of The Human War, The Insurgent, and more)“If you are a person who doesn’t really know what they are doing and you would like to read about another person who doesn’t really know what they are doing either, I recommend reading this poetry book. I enjoyed reading these poems. Or something.” - Chris Killen (author of The Bird Room)“I read these poems three times in one night, then put the duvet over my head and held my knees for a while. It’s good when something makes sense. I really really liked these poems.” - Ben Brooks (author of Grow Up)

    Nobody writes like this.’ - Jonathan Jansen Why are South Africans so uncomfortable with deep disagreement? Why do we lash out at people with opposing views without taking the time to engage logically with their arguments? Eusebius McKaiser is on a mission to raise the level of debate in South Africa. He provokes us from our comfort zones and lures us into the debates that shape our opinions and our society. With surprising candour and intensely personal examples, McKaiser examines our deepest-felt prejudices and ingrained assumptions. Don’t expect to read this book and escape with your defences intact. Immensely readable and completely engaging, McKaiser tackles deeply South African questions of race, sexuality and culture, including: •Can blacks be racist? •Why is our society so violent? •Is it morally okay to be prejudiced against skinny lovers? •Why is the presidential penis so problematic? •Is unconditional love ever a good thing? •Is it necessary to search for a national identity?

    When he is angry, clouds darken. When he cries, rivers burst their banks. And when he touches a basketball, deities want courtside seats. Half Nigerian mortal, half Grecian God: Demi is the Half-God of Rainfall.His mother, Modupe, looks on with a mixture of pride and worry. From close encounters, she knows that Gods are just like men: the same fragile egos, the same subsequent fury, the same sense of entitlement to the bodies of mortals. The Gods will one day tire of sports fans, their fickle allegiances and their prayers to Demi.And when that moment comes, it won’t matter how special he is. Only the women in Demi’s life, the mothers, the Goddesses, will stand between him and a lightning bolt.

    Here reside some of South Africa’s wealthiest individuals: all male, all Afrikaans – and all stinking rich. Johann Rupert, Jannie Mouton, Markus Jooste and Christo Weise, to name a few.Julius Malema refers to them scathingly as ‘The Stellenbosch Mafia’, the very worst example of white monopoly capital. But who really are these mega-wealthy individuals, and what influence do they exert not only on Stellenbosch but more broadly on South African society?Author Pieter du Toit begins by exploring the roots of Stellenbosch, one of the wealthiest towns in South Africa and arguably the cradle of Afrikanerdom. This is the birthplace of apartheid leaders, intellectuals, newspaper empires and more.He then closely examines this ‘club’ of billionaires. Who are they and, crucially, how are they connected? What network of boardroom membership, alliances and family connections exist? Who are the ‘old guard’ and who are the ‘inkommers’, and what about the youngsters desperate to make their mark? He looks at the collapse of Steinhoff: what went wrong, and whether there are other companies at risk of a similar fate. He examines the control these men have over cultural life, including pulling the strings in South Africa rugby.

    What if the history of the transatlantic slave trade had been reversed and Africans had enslaved Europeans? How would that have changed the ways that people justified their inhuman behavior? How would it inform our cultural attitudes and the insidious racism that still lingers today? We see this tragicomic world turned upside down through the eyes of Doris, an Englishwoman enslaved and taken to the New World, movingly recounting experiences of tremendous hardship and the dreams of the people she has left behind, all while journeying toward an escape into freedom.

    He now shares them in this jewel of a book.

    Possessed of an extraordinary imagination, she has a hard time fitting in at school. It is only when she visits Nigeria for the first time that she makes a friend who understands her: a ragged little girl named TillyTilly. But soon TillyTilly’s visits become more disturbing, until Jess realizes she doesn’t actually know who her friend is at all. Drawing on Nigerian mythology, Helen Oyeyemi presents a striking variation on the classic literary theme of doubles — both real and spiritual — in this lyrical and bold debut.

    A sparrow trapped in a car window evokes a mother battered by a father’s fists; a workout at an iron gym recalls a long-ago mentor who pushed the speaker “to become something unbreakable.” The presence of these and poetic forbears—Gil Scott-Heron, Yusef Komunyakaa—provide a context for strength in the face of danger and anger. At the heart of the book is a sonnet crown triggered by the shooting deaths of three Brooklyn men that becomes an extended meditation on the history of racial injustice and the notion of payback as a form of justice.