These are poems of searing beauty, lit by hope and shadowed by it, from a poet whose work "reinstates the possibility of finding meaning in a world that is forever ready to revoke the sources of meaning in our lives" (Jonathan Farmer, Slate).

    Written during the first two hundred days of the Trump presidency, these poems are haunted by the country's past and future eras and errors, its dreams and nightmares. Inventive, compassionate, hilarious, melancholy, and bewildered--the wonders of this new collection are irreducible and stunning.

    For the first time, Mojgani has given us a collection which combines his poems with his illustrations, at times using them to infuse and inform one another. The poems and pictures of The Pocketknife Bible climb through the child-like heart of its author to bring stories from the well that are enhanced by the imagery. This book is a celebration of childhood and family, or rather the mythology of what that entails, exploring the intersection of how we may have once seen the world and how we remember how we saw it. This is an almost-children s book for those who might no longer be young, but could use a map to find their way back to that world."

    . . These poems literally vibrate with Kearney's precocious intellect and passion. They hum, they bang, they bite. What else can I say? I have never encountered poetry like this before."—Terrance Hayes

    The much-awaited second book by a truly revolutionary poet, in the lineage of Gil Scott Heron, Allen Ginsberg, Audre Lorde.

    Here, though, the poet's electric narratives and portraits extend beyond the working class streets of urban New Jersey. Modeling poems on the kundiman, a song of unrequited love sung by Filipinos for their country in times of oppression, he professes his conflicted feelings for America, while celebrating and lamenting his various heritageswhether by chatting up St. Patrick, riffing on race relations, or channeling Lapu Lapu in a rejoinder to Magellan. Passionate, provocative, and irrepressible throughout, My American Kundiman further establishes Rosal as a poet to be reckoned with.

    It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

    Each of Levin's poems is an astonishing investigation of human darkness, propelled by a sensuous syntax and a desire for healing."This is the language of a prophet: Levin's art, in this book certainly, takes place in a kind of mutating day of judgment: it means to wipe a film from our eyes. It is a dare, a challenge, and, for all its considerable beauty, the opposite of the seductive...Sensuous, compassionate, violent, extravagant: what an amazing debut this is, a book of terrors and marvels."-Louise Gluck, from the IntroductionDana Levin was raised in Lancaster, California, in the Mojave Desert. She has received fellowships, grants, and awards from the National Endowment for the Arts, the Academy of American Poets, the Vermont Arts Council, and New York University, where she received her M.F.A. She lives in New Mexico and teaches Creative Writing at the College of Santa Fe.

    Smith, the Poet Laureate of the United StatesIn Wade in the Water, Tracy K. Smith boldly ties America’s contemporary moment both to our nation’s fraught founding history and to a sense of the spirit, the everlasting. These are poems of sliding scale: some capture a flicker of song or memory; some collage an array of documents and voices; and some push past the known world into the haunted, the holy. Smith’s signature voice—inquisitive, lyrical, and wry—turns over what it means to be a citizen, a mother, and an artist in a culture arbitrated by wealth, men, and violence. Here, private utterance becomes part of a larger choral arrangement as the collection widens to include erasures of The Declaration of Independence and the correspondence between slave owners, a found poem comprised of evidence of corporate pollution and accounts of near-death experiences, a sequence of letters written by African Americans enlisted in the Civil War, and the survivors’ reports of recent immigrants and refugees. Wade in the Water is a potent and luminous book by one of America’s essential poets.

    A collage of song, culture, and circumstance, alive and speaking.Tyehimba Jess’ numerous awards include fellowships from the NEA and the Fine Arts Work Center in Provincetown. A native of Detroit, he is a proud alumnus of the Chicago Green Mill Slam teams and Cave Canem. His first nonfiction book is African American Pride: Celebrating our Achievements, Contributions, and Enduring Legacy (Citadel Press, 2003).

    . . . It’s a place of reflection and contemplation, a temporary reprieve from the world’s chaos and a reach for a vision of paradise." —The Los Angeles Review of Books“. . .the poems [in Mezzanines] have doors that open and invite you inside. The rooms of the house may be odd, and the stairwells may lead in strange directions, but you, as the reader, remain beckoned. [Olzmann] hasn’t invited you in just to leave you. He’s got stories to tell, and they’re good.” —The Huffington Post BlogThere is no place Matthew Olzmann doesn’t visit in his poignant debut. From underwater to outer space, Mezzanines is a contained universe, constantly shifting through multiple perceptions of the surreal and the real. A lyrical conversation with mortality, Olzmann explores identity, faith, and our sense of place, with an acute awareness of our minute existence.From "NASA Video Transmission Picked Up By Baby Monitor":How many shadows are there left to name?Logophobia is the fear of words. Keraunothnetophobiais the fear of falling man-made satellites.Imagine this last one:you walk outside and look to heavenexpecting a sky lab plunging down on you—wireseverywhere, bolts loosening, metal body in flames.Instead, you see only blue, endless blue,the color of a baby’s new blanket, cloaking everything.Matthew Olzmann is a graduate of the MFA program for writers at Warren Wilson College. His poems have appeared or are forthcoming in Kenyon Review, New England Review, Inch, Gulf Coast, Rattle, and elsewhere. He’s received fellowships from Kundiman and the Kresge Arts Foundation. Currently, he is a writer-in-residence for the InsideOut Literary Arts Project and the poetry editor of The Collagist.

    Grounded in a series of mediations upon the life of the feeling heart in the world, Jane Hirshfield's long-awaited third collection of poetry explores the ways that radiance dwells most truly in the ordinary, the difficult, and the plain.

    Compulsively readable, full of fear and persistence, they resonate with the wildness and generosity of Ginsberg, Whitman, and Ted Berrigan, turning the everyday into an encompassing, harrowing, humorous, necessary vision. Beckman is, as Publishers Weekly notes, “the real thing.”Joshua Beckman is the author of numerous poetry collections, translations, and collaborative works. His awards include a NYFA Fellowship and a Pushcart Prize. He lives in Seattle and New York.

    Daffy Duck enters the Valley of the Eternals. Faulkner and bell-bottoms cling to beauty's evanescence.Even in single poems, Young's tone and style vary. No one feeling or idea takes precedence over another, and their simultaneity is frequently revealed; sadness may throw a squirrelly shadow, joy can find itself dressed in mourning black. As in the agitated "Whirlpool Suite": "Pain / and pleasure are two signals carried / over one phoneline."In taking up subjects as slight as the examination of a signature or a true/false test, and as pressing as the death of friends, Young's poems embrace the duplicity of feeling, the malleability of perception, and the truth telling of wordplay.

    A great reading experience for those who like serious and innovative poetry." --Library JournalDrawing upon Navajo history and enduring tradition, Sherwin Bitsui leads us on a treacherous, otherworldly passage through the American Southwest. Fluidly shape-shifting and captured by language that functions like a moving camera, Dissolve is urban and rural, past and present in the haze of the reservation. Bitsui proves himself to be one of this century's most haunting, raw, and uncompromising voices.From "(Untitled)" . . . Jeweled with houseflies, leather rattles, foil-wrapped, ferment in beaked masks on the shores of evaporating lakes.This plot, now a hotel garden, its fountain gushing forth--the slashed wrists of the Colorado River.Sherwin Bitsui was raised in White Cone, Arizona, on the Navajo Reservation. He is the author of two other books of poetry, among them Flood Song, which won an American Book Award. He currently lives in Arizona where he has serves on the faculty of the Institute of American Indian Arts.