The poems follow an unlikely character named Miss Peach, an unpredictable, cartoonish shapeshifter, who emerges onto the page dragging the myth of the individual, various gender scripts, and the grand tradition of the poetic persona along with her. She becomes an outsider, a hero, an intruder, a rock star. The town around her, Gold River, is also always in flux—part center and part mirage. The Stranger Manual celebrates the fractious nature of self and society in poems that are fabulist, speculative, and alluring.

    Obsessive, brilliant, linguistically playful—the mesmerizing world of The Boss is as personal as it is distinctly post-9/11. The result is a breathtaking, one-of-a-kind exploration of contemporary American culture, power structures, family life, and ethnic and personal identity.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    Evans is a long-standing voice in the performance poetry scene, who has performed at venues across the country and been featured on numerous final stages, including the National Poetry Slam and Individual World Poetry Slam. Evans's commanding, confident style shines through in these poems, which explore masculinity, fatherhood, and family, and what it means to make a home as a black man in contemporary America.

    

    As sharp and outspoken as ever, this artist long hailed as a healer and a sage returns with this profound book of poetry in which she continues to call attention to injustice and give readers an unfiltered look into the most private parts of herself.In Make Me Rain, she celebrates her loved ones and unapologetically declares her pride in her black heritage, while exploring the enduring impact of the twin sins of racism and white nationalism. Giovanni reaffirms her place as a uniquely vibrant and relevant American voice with poems such as “I Come from Athletes” and “Rainy Days”—calling out segregation and Donald Trump; as well as “Unloved (for Aunt Cleota)” and “”When I Could No Longer”—her personal elegy for the relatives who saved her from an abusive home life. Stirring, provocative, and resonant, the poems in Make Me Rain pierce the heart and nourish the soul.

    Poems that range in style from starkly concrete to limber break down the barriers that prevent understanding of what it means to be racialized. Shraya paints the face of everyday racism with words, rendering it visible, tangible, and undeniable.

    imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran's poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love.

    With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America--and the painful, joyous path to adulthood as a young, queer Black woman.Black Girl, Call Home is a love letter to the wandering Black girl and a vital companion to any woman on a journey to find truth, belonging, and healing.

    Heid E. Erdrich has selected twenty-one poets whose first books were published after the year 2000 to highlight the exciting works coming up after Joy Harjo and Sherman Alexie. Collected here are poems of great breadth―long narratives, political outcries, experimental works, and traditional lyrics―and the result is an essential anthology of some of the best poets writing now.Poets included are Tacey M. Atsitty, Trevino L. Brings Plenty, Julian Talamantez Brolaski, Laura Da’, Natalie Diaz, Jennifer Elise Foerster, Eric Gansworth, Gordon Henry, Jr., Sy Hoahwah, LeAnne Howe, Layli Long Soldier, Janet McAdams, Brandy Nalani McDougall, Margaret Noodin, dg okpik, Craig Santos Perez, Tommy Pico, Cedar Sigo, M. L. Smoker, Gwen Westerman, and Karenne Wood.

    She tells of the trials of immigration, of exile, of thwarted interracial love, and of social injustice. Some poems recall the Confucian "Book of Songs," while others echo the African American blues tradition and Western railroad ballads. The title poem references the Han Dynasty rhapsody but is also a wild, associative tour de force. Political allegories sing out with personal revelations. Personal revelations open up to a universal cry for compassion and healing. These songs emerge as a powerful and elegant collection: sophisticated yet moving, hard-hitting yet refined.

    Written in dialogic fragments and intersped with prose poems reflecting on the lasting impact of colonial trauma, it is arranged around the two different discourses. The bed on which America sleeps, and which America has made, is built on the fear that the nations it has oppressed will rise up against it, a monstrous shadow in a child’s nightmare. Written in English, while they sleep points to a imperialist American identity: the dormant body of the text. Answering in Spanish, under the bed is another country is the footnote, the monster under the bed, the colony: Puerto Rico.

    There is nothing quiet about Schminkey's debut. Every page is raw, honest and unforgettable. Dead Dad Jokes brings the impact of addiction into crisp focus while also shattering our simplistic TV preconceptions about it. Ollie never lets the reader slip into the easy sadness of cliche - instead they guide us through the realities and contradictions of losing someone you love and of death - reminding us that they need not be one and the same.

    Cela sera pour nous une attitude intérieure, mieux : une vigilance, ou mieux encore, une sorte d'enveloppe mentale au mitan de laquelle se bâtira notre monde en pleine conscience du monde.» Publié en 1989, cet éloge de l'identité créole, cette quête lyrique «d'une pensée plus fertile, d'une expression plus juste, d'une esthétique plus vraie», fonde un art poétique qui devait très vite, dans une illustration magnifique, donner des œuvres importantes : Raphaël Confiant a reçu le prix Novembre pour Eau de Café (1991), Patrick Chamoiseau le prix Goncourt pour Texaco (1992). "Neither Europeans, nor Africans, nor Asians, we proclaim ourselves to be Creoles. For us this will be a state of mind, or, rather, a state of vigilance, or, better still, a sort of mental envelope within which we will build our world, in full awareness of the world." Published in 1989, this hymn to the Creole identity, this lyrical quest "for a more fertile way of thinking, for a more accurate means of expression, and for a more genuine aesthetics", laid the foundations of a poetic art that was very quickly, and brilliantly, to produce major works : Raphaël Confiant was awarded the prix Novembre for Eau de Café (1991), and Patrick Chamoiseau received the prix Goncourt for Tewaco (1992).

    In Excerpts from a Family Medical Dictionary the author traces, in sparse prose, the slow, gradual erosion of her mother's health, her dignity and her life. In seventeen short chapters, from 'anaemia', 'twilight sleep' and 'metastasis', to 'unction', 'cremation' and 'remains', the author describes the family's journey through her mother's illness and death. Written unsentimentally, and with sometimes painful honesty, Excerpts from a Family Medical Dictionary is an extraordinarily moving commemoration of a life and death.