She knew she was "different," her family knew she was "different," but anything outside of the heteronorm was either disregarded or disparaged.In her stunning debut, written in protest to an absence of representation, Marsh recalls her early life and the attendant torments of a butch Black woman coming of age in America. In lush, powerful, and vulnerable verses, dayliGht unpacks traumas to unearth truths, revealing a deep well of resilience, a cutting sense of irony, and an astonishing fresh talent.

    Griswold's language is forthright and intimate as she steers between the chaos of a tumultuous inner world and an external landscape littered with SUVs, CBD oil, and go bags, talismans of our time. Alternately searing and hopeful, funny and fraught, the poems explore the world's fracturing through the collapse of the ego, embodied in a character named "I"--a soul attempting to wrestle with itself in the face of an unfolding tragedy.

    White men are finally realizing that simply not being racist isn’t enough to end racism. These men want deeper insight not only into how racism has harmed Black people, but, for the first time, into how it has harmed them. They are beginning to see that racism warps us all. Letters to My White Male Friends promises to help men who have said they are committed to change and to develop the capacity to see, feel and sustain that commitment so they can help secure racial justice for us all. Ross helps readers understand what it meant to be America’s first generation raised after the civil rights era. He explains how we were all educated with colorblind narratives and symbols that typically, albeit implicitly, privileged whiteness and denigrated Blackness. He provides the context and color of his own experiences in white schools so that white men can revisit moments in their lives where racism was in the room even when they didn’t see it enter. Ross shows how learning to see the harm that racism did to him, and forgiving himself, gave him the empathy to see the harm it does to white people as well. Ultimately, Ross offers white men direction so that they can take just action in their workplace, community, family, and, most importantly, in themselves, especially in the future when race is no longer in the spotlight.

    From the best-selling author of I Find You in the DarknessShe's been through more hell than you'll ever know.But that's what gives her beauty an edge.You can't touch a woman who can wear painlike the grandest of diamonds around her neck.--AlfaShe Wears Pain Like Diamonds is a book of poetry about finding beauty in a buried past andunearthing the treasures of strength and resilience.

    ContentsI.Furious VersionisII.The InterrogationThis Hour And What Is DeadArise, Go DownMy Father, In Heaven, Is Reading Out LoudFor A New Citizen Of These United StatesWith RuinsIII.This Room And Everything In ItThe City In Which I Love YouIV.The WaitingA StoryGoodnightYou Must SingHere I AmA Final ThingV.The Cleaving

    For the next few years of her life, she was bullied incessantly at school, after school, and online. At the time, Emily didn’t feel comfortable confiding in her parents or in the other adults in her life. But she did keep a diary.UnSlut presents that diary, word for word, with split-page commentary to provide context and perspective. This unique diary and memoir sheds light on the important issues of sexual bullying, slut-shaming, and the murky mores of adolescent sexual development. Readers will see themselves in Emily’s story—whether as the bully, the shamed, or the passive bystander. This book also includes advice and commentary from a variety of distinguished experts.

    Worldly, wily, wise: Mad Honey Symposium is an extraordinary debut."—Terrance Hayes"[Mad Honey Symposium] has all the delicacy of [Mao's] earlier writing—but now there's also a gritty, world-wise sense of humor that gives her work heavyweight swagger."—Dave EggersMad Honey Symposium buzzes with lush sound and sharp imagery, creating a vivid natural world that's constantly in flux. From Venus flytraps to mad honey eaters, badgers to empowered outsiders, Sally Wen Mao's poems inhabit the precarious space between the vulnerable and the ferocious—how thin that line is, how breakable—with wonder and verve.From "Valentine for a Flytrap":. . . . . . . . . . . . . . . . . . . . . . . . .There's voltagein your flowers—mulch skeins, armoryfor cunning loves. Your mouth pins every stickybody, swallowing iridescence, digestinglight. Venus, let me swim in your solarium.Venus, take me in your summer gown.Sally Wen Mao was born in Wuhan, China, and grew up in Boston and the Bay Area. She is a Kundiman fellow and 826 Valencia Young Author's Scholar. Her poetry is published or forthcoming in Colorado Review, Gulf Coast, Hayden's Ferry Review, Indiana Review, Passages North, Quarterly West, and West Branch, among others. She holds a BA from Carnegie Mellon University and an MFA from Cornell University, where she's currently a lecturer.

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    He's a senior running back on the football team, dominating every opponent in his way. To everyone else, Jack is totally in control. In reality, he struggles with an eating disorder that controls every aspect of his daily life. When Jack starts using steroids, he feels invincible, but will the steroids help him win the big game, or will he lose everything he's ever worked for?

    Featuring over one hundred and twenty of Cleo’s original poems, mantras, and affirmations, including fan favorites and never before seen ones, this book is a daily pep talk to keep you feeling empowered and motivated. With relatable, practical, and digestible advice, including “Hearts break. That’s how the magic gets in,” and “Baby, you are the strongest flower that ever grew, remember that when the weather changes,” this is a portable, replenishing pause for your daily life. Keep Heart Talk by your bedside table or in your bag for an empowering boost of spiritual adrenaline that can help you discover and unlock what is blocking you from thriving emotionally and spiritually.

    No one knows this better than comedian Laurie Kilmartin. She made headlines by live-tweeting her father’s time in hospice and her grieving process after he passed, and channeled her experience into a comedy special, 45 Jokes About My Dead Dad. Dead People Suck is her hilarious guide to surviving (sometimes) death, dying, and grief without losing your mind.If you are old and about to die, sick and about to die, or with a loved one who is about to pass away or who has passed away, there’s something for you. With chapters like “Are You An Old Man With Daughters? Please Shred Your Porn,” “If Cancer was an STD, It Would Be Cured By Now,” and “Unsubscribing Your Dead Parent from Tea Party Emails,” Laurie Kilmartin guides you through some of life’s most complicated moments with equal parts heart and sarcasm.

    Swan, her twentieth volume, shows us that, though we may be “made out of the dust of stars,” we are of the world she captures here so vividly: the acorn that hides within it an entire tree; the wings of the swan like the stretching light of the river; the frogs singing in the shallows; the mockingbird dancing in air. Swan is Oliver’s tribute to “the mortal way” of desiring and living in the world, to which the poet is renowned for having always been “totally loyal.”   As the Los Angeles Times noted, innumerable readers go to Oliver’s poetry “for solace, regeneration and inspiration.” Few poets express the immense complexities of human experience as skillfully, or capture so memorably the smallest nuances. Speaking, for example, of stones, she writes, “the little ones you can / hold in your hands, their heartbeats / so secret, so hidden it may take years / before, finally, you hear them.” It is no wonder Oliver ranks, according to the Weekly Standard, “among the finest poets the English language has ever produced.”

    ANNE SEXTON (1928–1974) was an American poet known for her highly personal, confessional verse. A celebrated poet of mid- twentieth century America, Sexton’s impressive body of work continues to be widely read and debated by literary scholars and cultural critics alike. Her poetry explored the many paradoxes within human behavior and motivation.

    The spectacular was never behind them.                         -from “The Troubadours etc.”  In Incarnadine, Mary Szybist restlessly seeks out places where meaning might take on new color. One poem is presented as a diagrammed sentence. Another is an abecedarium made of lines of dialogue spoken by girls overheard while assembling a puzzle. Several poems arrive as a series of Annunciations, while others purport to give an update on Mary, who must finish the dishes before she will open herself to God. One poem appears on the page as spokes radiating from a wheel, or as a sunburst, or as the cycle around which all times and all tenses are alive in this moment. Szybist’s formal innovations are matched by her musical lines, by her poetry’s insistence on singing as a lure toward the unknowable. Inside these poems is a deep yearning—for love, motherhood, the will to see things as they are and to speak. Beautiful and inventive, Incarnadine is the new collection by one of America’s most ambitious poets.

    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.