Never has she met a man like him, and though neither of them knows what the future holds, Aniqa is sure of one thing: Je’Marcus must go. A man always wants that old thang back, though, and when Je’Marcus makes good on his promise to love her to death, Aniqa’s locked in the fight of her life, chasing the kind of love only a boss can give. Linc is a hitta in every sense of the word, and he’ll go to war against anyone that comes for the Carmichael throne, but when he uncovers the ultimate betrayal in his tight-knit circle, he questions whether he should remain loyal to the one person he looks up to—who just might be the biggest snake of them all. No one knocks Linc off his square—he’s the solution before people even realize there’s a problem, but when Aniqa captures his heart like no woman before her, Linc finds himself feeling something he’s spent his whole life running away from—love. Linc’s mind says, “Lord, please save her for me,” but can he make his next move his best and capture Aniqa’s heart? Beautiful is a sophistoratchet beauty that’s always on ten—if you’re knuckin’ then she’s buckin! Fiercely protective of Aniqa, her A-1 from way back, Beautiful’s a rider for hers. They say blood is thicker than water, but when Beautiful rolls up on some shocking news about “family,” will she choose to ride with her family or stay down for her bestie? Aniqa’s still crushin’ while Linc wants to love her down, but will she give in and let Linc put some BOSS up in her life?

    With The No You Never Listened To, she takes the personal and makes it universal. As a sexual assault survivor, Meggie is well-acquainted with trauma: the aftermath, the guilt, the anger. She has never shied away from taking Hemingway’s advice – write hard and clear about what hurts – and that strength has never been more of an asset than with this body of work.The No You Never Listened To is the book you will wish you’d had when trauma climbed into your bed. It is the book you will give to friends who are dragged from their “before” into a dark and terrifying “after”. And yes, it is the book you will wish didn’t exist.But it is also the one that will remind you, in your darkest moments, where the blame really belongs. It will remind you that your memory will not always be an enemy. And it will remind you that none of us have ever been alone in this.”– Claire BiggsTo Write Love on Her Arms Editor / Writer

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    

    Inspired by the #SayHerName campaign launched by the African American Policy Forum, these poems pay tribute to victims of police brutality as well as the activists insisting that Black Lives Matter. Elliott engages poets from the past two centuries to create a chorus of voices celebrating the creativity, resilience, and courage of Black women and girls. This collection features 49 powerful poems, four of which are tribute poems inspired by the works of Lucille Clifton, Audre Lorde, Nikki Giovanni, and Phillis Wheatley. This collection aims to move every listener to reflect, respond—and act.

    The personal and political crash into one language here, gothic as it is supple, meditating on visual art and myth, to desire, the practice of lynching and Hurricane Katrina. Always at its center, though, is the poet himself—confessing a double song of pleasure and inevitable pain.

    The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."

    . . " In words drawn from urban and Navajo perspectives, Sherwin Bitsui articulates the challenge a Native American person faces in reconciling his or her inherited history of lore and spirit with the coldness of postmodern civilization.Shapeshift is a collection of startling new poetry that explores the tensions between the worlds of nature and man. Through brief, imagistic poems interspersed with evocative longer narratives, it offers powerful perceptions of American culture and politics and their lack of spiritual grounding. Linking story, history, and voice, Shapeshift is laced with interweaving images—the gravitational pull of a fishbowl, the scent of burning hair, the trickle of motor oil from a harpooned log—that speak to the rich diversity of contemporary Diné writing."Tonight, I draw a raven's wing inside a circle measured a half second before it expands into a hand. I wrap its worn grip over our feet As we thrash against pine needles inside the earthen pot." With complexities of tone that shift between disconnectedness and wholeness, irony and sincerity, Bitsui demonstrates a balance of excitement and intellect rarely found in a debut volume. As deft as it is daring, Shapeshift teases the mind and stirs the imagination.

    Chang sweeps together myth and fairy tale, skirting the edges of events to focus on the psychological tenor of experience: the underpinnings of identity and the role of nature in both constructing and erasing a self. From the edge of the ocean, where things constantly shift and dissolve, through "the forest's thick, / where the trees meet the dark," to an imaginary cliffside town of fog, this book makes a journey both natural and psychological, using experiments in language and form to capture the search for personhood and place.

    A passionate follower of WEB. Du Bois, he believes that black people should rise up to claim their place as equals.Sixteen-year-old Angel Hill is a loner, mostly disregarded by her peers as a goody-goody. Her father is dying, and her family’s financial situation is in turmoil. Also, as a loyal follower of Booker T. Washington, she believes, through education and tolerance, that black people should rise slowly and without forced conflict.Though they’ve attended the same schools, Isaiah never noticed Angel as anything but a dorky, Bible toting church girl. Then their English teacher offers them a job on her mobile library, a three-wheel, two-seater bike. Angel can’t turn down the money and Isaiah is soon eager to be in such close quarters with Angel every afternoon.But life changes on May 31, 1921 when a vicious white mob storms the community of Greenwood, leaving the town destroyed and thousands of residents displaced. Only then, Isaiah, Angel, and their peers realize who their real enemies are.

    It was the first time I had ever come face to face with such manifest, implacable hate of my race, and my feelings were indescribable … Looking about me with bigger and clearer eyes I saw that this cruelty in different ways was going on all over the world. Whites were exploiting and oppressing whites even as they exploited and oppressed the yellows and blacks. And the oppressed, groaning under the leash, evinced the same despicable hate and harshness toward their weaker fellows. I ceased to think of people and things in the mass. [O]ne must seek for the noblest and best in the individual life only: each soul must save itself."So wrote the first major poet of the Harlem Renaissance, whose collection of poetry, Harlem Shadows (1922), is widely regarded as having launched the movement. But McKay's literary significance goes far beyond his fierce condemnations of racial bigotry and oppression, as is amply demonstrated by the universal appeal of his sonnet, "If We Must Die," recited by Winston Churchill in a speech against the Nazis in World War II.While in Jamaica, McKay produced two works of dialect verse, Songs of Jamaica and Constab Ballads, that were widely read on the island. In richly authentic dialect, the poet evoked the folksongs and peasant life of his native country. The present volume, meticulously edited and with an introduction by scholar Joan R. Sherman, includes a representative selection of this dialect verse, as well as uncollected poems, and a generous number in standard English from Harlem Shadows.

    Determined to make sure Mischana and his mother were fed, Kiru did the only thing any young man in his position would do; he hit the blocks. However, he had no idea how deep Mischana’s troubles really ran, and she was forced away before he had the chance to find out. Years later, Mischana is still being dealt bad hands. With an abusive boyfriend and a secret she’s been harboring for ten years, she runs to the one place she thought she’d never return. What she wasn’t expecting was to also find the one person she thought she’d never see again... Kiru. Determined to keep her close this time around, Kiru is more than willing to handle all her troubles. Will he be able to save her from her past life, or will her past only bring chaos into his?

    

    From drugs to murder for hire and everything in between, these deadly sisters have the game on lock.Sin runs the city with a shoot first, ask questions never mentality. After letting her guard down once and being left for dead carrying a child, she hardened her heart and vowed to never let that happen to her again. Carrying around a secret that could potentially change her life as she knows it, she buried it, along with her feelings. But, when a new player by the name of Ghost enters the game, can Sin keep dirt on those feelings that she thought died or will he turn out to be her blessing in disguise?Beretta is a self-proclaimed killer by birth and has never had a problem toe-tagging any and everything that comes her way. Sticking to that code, what happens when one of her missions makes her question everything she lives for? When secrets are uncovered and blood is shed, can the girls handle the Sins of their Berettas?