Most of all, The Collection Plate explores both how we collect and erase the voices, lives, and innocence of underrepresented bodies—and behold their pleasure, pain, and possibilityBoth formally exciting and a delight to read, The Collection Plate is a testament to Allen’s place as the voice of a generation—and a witness to how we come into being in the twenty-first century.

    What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.—from “WHEREAS Statements”WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

    She’s accepted that her future won’t be what she’d dreamed, but now, as gentrification has completely reshaped her old neighborhood, even her past is unrecognizable. Old haunts have been razed, and wealthy white strangers have replaced every familiar face in Bed-Stuy. Even her mother, Mirella, has abandoned the family to reclaim her roots in the Dominican Republic. That took courage. It’s also unforgivable.When Penelope moves into the attic apartment of the affluent Harpers, she thinks she’s found a semblance of family—and maybe even love. But her world is upended again when she receives a postcard from Mirella asking for reconciliation. As old wounds are reopened, and secrets revealed, a journey across an ocean of sacrifice and self-discovery begins.An engrossing debut, Halsey Street shifts between the perspectives of these two captivating, troubled women. Mirella has one last chance to win back the heart of the daughter she’d lost long before leaving New York, and for Penelope, it’s time to break free of the hold of the past and start navigating her own life.

    Johnson explores his childhood, adolescence, and college years in New Jersey and Virginia. From the memories of getting his teeth kicked out by bullies at age five, to flea marketing with his loving grandmother, to his first sexual relationships, this young-adult memoir weaves together the trials and triumphs faced by Black queer boys.Both a primer for teens eager to be allies as well as a reassuring testimony for young queer men of color, All Boys Aren't Blue covers topics such as gender identity, toxic masculinity, brotherhood, family, structural marginalization, consent, and Black joy. Johnson's emotionally frank style of writing will appeal directly to young adults.

    Her brother, Nana, was a gifted high school athlete who died of a heroin overdose after a knee injury left him hooked on OxyContin. Her suicidal mother is living in her bed. Gifty is determined to discover the scientific basis for the suffering she sees all around her. But even as she turns to the hard sciences to unlock the mystery of her family's loss, she finds herself hungering for her childhood faith and grappling with the evangelical church in which she was raised, whose promise of salvation remains as tantalizing as it is elusive. Transcendent Kingdom is a deeply moving portrait of a family of Ghanaian immigrants ravaged by depression and addiction and grief--a novel about faith, science, religion, love. Exquisitely written, emotionally searing, this is an exceptionally powerful follow-up to Gyasi's phenomenal debut.

    Olio is an effort to understand how they met, resisted, complicated, co-opted, and sometimes defeated attempts to minstrelize them.So, while I lead this choir, I still find thatI'm being led…I'm a missionarymending my faith in the midst of this flock…I toil in their fields of praise. When folks seethese freedmen stand and sing, they hear their Godspeak in tongues. These nine dark mouths sing shelter;they echo a hymn's haven from slavery's weather.Detroit native Tyehimba Jess' first book of poetry, leadbelly, was a winner of the 2004 National Poetry Series. Jess, a Cave Canem and NYU Alumni, has received fellowships from the Whiting Foundation, National Endowment for the Arts, Illinois Arts Council, and the Provincetown Fine Arts Work Center. Jess is also a veteran of the 2000 and 2001 Green Mill Poetry Slam Team. He exhibited his poetry at the 2011 TEDxNashville Conference. Jess is an Associate Professor of English at College of Staten Island.

    In “Books and Roses” one special key opens a library, a garden, and clues to at least two lovers’ fates. In “Is Your Blood as Red as This?” an unlikely key opens the heart of a student at a puppeteering school. “‘Sorry’ Doesn’t Sweeten Her Tea” involves a “house of locks,” where doors can be closed only with a key—with surprising, unobservable developments. And in “If a Book Is Locked There’s Probably a Good Reason for That Don't You Think,” a key keeps a mystical diary locked (for good reason).  Oyeyemi’s tales span multiple times and landscapes as they tease boundaries between coexisting realities. Is a key a gate, a gift, or an invitation?

    So she is shocked when her babysitter, Emira Tucker, is confronted while watching the Chamberlains' toddler one night, walking the aisles of their local high-end supermarket. The store's security guard, seeing a young black woman out late with a white child, accuses Emira of kidnapping two-year-old Briar. A small crowd gathers, a bystander films everything, and Emira is furious and humiliated. Alix resolves to make things right.But Emira herself is aimless, broke, and wary of Alix's desire to help. At twenty-five, she is about to lose her health insurance and has no idea what to do with her life. When the video of Emira unearths someone from Alix's past, both women find themselves on a crash course that will upend everything they think they know about themselves, and each other.With empathy and piercing social commentary, Such a Fun Age explores the stickiness of transactional relationships, what it means to make someone family, and the complicated reality of being a grown up. It is a searing debut for our times.

    In a small set of friends, Baldwin imbues the best and worst intentions of liberal America in the early 1970s.

    We all are broken and broken is its own kind of beautiful.

    A renowned surgeon and failed husband, he succumbs suddenly at dawn outside his home in suburban Accra. The news of Kweku’s death sends a ripple around the world, bringing together the family he abandoned years before. Ghana Must Go is their story. Electric, exhilarating, beautifully crafted, Ghana Must Go is a testament to the transformative power of unconditional love, from a debut novelist of extraordinary talent.  Moving with great elegance through time and place, Ghana Must Go charts the Sais’ circuitous journey to one another. In the wake of Kweku’s death, his children gather in Ghana at their enigmatic mother’s new home. The eldest son and his wife; the mysterious, beautiful twins; the baby sister, now a young woman: each carries secrets of his own. What is revealed in their coming together is the story of how they came apart: the hearts broken, the lies told, the crimes committed in the name of love. Splintered, alone, each navigates his pain, believing that what has been lost can never be recovered—until, in Ghana, a new way forward, a new family, begins to emerge.Ghana Must Go is at once a portrait of a modern family, and an exploration of the importance of where we come from to who we are. In a sweeping narrative that takes us from Accra to Lagos to London to New York, Ghana Must Go teaches that the truths we speak can heal the wounds we hide.

    Free love, common-law and transient marriages, serial partners, cohabitation outside of wedlock, queer relations, and single motherhood were among the sweeping changes that altered the character of everyday life and challenged traditional Victorian beliefs about courtship, love, and marriage. Hartman narrates the story of this radical social transformation against the grain of the prevailing century-old argument about the crisis of the black family.In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship that were indifferent to the dictates of respectability and outside the bounds of law. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage. Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading conditions of work.Beautifully written and deeply researched, Wayward Lives recreates the experience of young urban black women who desired an existence qualitatively different than the one that had been scripted for them—domestic service, second-class citizenship, and respectable poverty—and whose intimate revolution was apprehended as crime and pathology. For the first time, young black women are credited with shaping a cultural movement that transformed the urban landscape. Through a melding of history and literary imagination, Wayward Lives recovers their radical aspirations and insurgent desires.

    In these poems, Justin Phillip Reed experiments with language to explore inequity and injustice and to critique and lament the culture of white supremacy and the dominant social order. Political and personal, tender, daring, and insightful―the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.

     The Truth About Magic builds on the pains and joys of romance explored in Love Her Wild and the New York Times bestseller, The Dark Between Stars—heartbreaks and falling in love, looking back and looking inwards—by taking a fresh, awakened journey outward. An adventure into the great unknown. It’s about finding ourselves, our purpose, and the simple joys of life. It’s about lavender fields, drinking white wine out of oak barrels on vineyards, laughing until you cry, dancing in old barns until the sun comes up, and making love on sandy beaches. The Truth About Magic is a vibrant, transcendent journey into growth, which will leave you energized and eager to explore the wider world.

    In her poem “Deliverance” about her daughter’s birth she writes “What is the word for when the light leaves the body?/What is the word for when it/at last, returns?”Through poems that are as unforgettably beautiful as they are accessible, Kate proves herself to truly be an exemplary voice in modern poetry. As easy to post on Instagram as they are to print out and frame, Kate’s words make women feel seen in their own bodies, in their own marriages, and in their own lives. Her poems are those you share with your mother, your daughter, your sister, and your friends.