These books, among them Notes of a Native Son, The Fire Next Time, Giovanni’s Room, and Go Tell It on the Mountain, brought him well-deserved acclaim as a public intellectual and admiration as a writer. However, Baldwin’s earliest writing was in poetic form, and Baldwin considered himself a poet throughout his lifetime. Nonetheless, his single book of poetry, Jimmy’s Blues, never achieved the popularity of his novels and nonfiction, and is the one and only book to fall out of print. This new collection presents James Baldwin the poet, including all nineteen poems from Jimmy’s Blues, as well as all the poems from a limited-edition volume called Gypsy, of which only 325 copies were ever printed and which was in production at the time of his death. Known for his relentless honesty and startlingly prophetic insights on issues of race, gender, class, and poverty, Baldwin is just as enlightening and bold in his poetry as in his famous novels and essays. The poems range from the extended dramatic narratives of “Staggerlee wonders” and “Gypsy” to the lyrical beauty of “Some days,” which has been set to music and interpreted by such acclaimed artists as Audra McDonald. Nikky Finney’s introductory essay reveals the importance, relevance, and rich rewards of these little-known works. Baldwin’s many devotees will find much to celebrate in these pages.

    His range is virtuosic, encompassing Mark Twain and Richard Wright, Mahalia Jackson and Charlie Parker, The Birth of a Nation and the Dante-esque landscape of Harlem—“the scene and symbol of the Negro’s perpetual alienation in the land of his birth.” Throughout, he gives us what amounts to an episodic autobiography that traces his formation as a writer as well as the genesis of Invisible Man.On every page, Ellison reveals his idiosyncratic and often contrarian brilliance, his insistence on refuting both black and white stereotypes of what an African American writer should say or be. The result is a book that continues to instruct, delight, and occasionally outrage readers.

    After serial publication in Spirou the complete story was published, along with the Marsupilami short story Touchez pas aux rouges-gorges, in a hardcover album in 1957.

    

    In it, Reed, one of our preeminent African-American authors, mixes portraits of historical figures and fictional characters with sound bites on subjects ranging from ragtime to Greek philosophy. Cited by literary critic Harold Bloom as one of the five hundred most significant books in the Western canon, Mumbo Jumbo is a trenchant and often biting look at black-white relations throughout history, from a keen observer of our culture.

    In the privacy of their homes, who can save them from themselves? In the forests and hills and on the beautiful lakes, what could possibly be wrong? Even in the sweet hometown, with its kindly police, menace lurks in a thousand disguises. Mystery and magic surround this metropolis of the imagination. Once again, James Tate has given us a world of surprising pleasures:... lost in the interstellar space between teacups in the cupboard, found in the beak of a downy woodpecker, the lovers staring into the void and then jumping over it, flying into their beautiful tomorrows like the heroes of a storm.

    At the same time, this stark but moving story touches on the central themes of the Harlem Renaissance, including the urgent need for unity and identity among blacks.

    From the environment to our reliance on manners, from sex and politics to love among Black folk, Blues is a masterwork with poems for every soul and every mood: The poignant "Stealing Home" pays tribute to Jackie Robinson, while "Road Rage Blues" jams on time and space; Giovanni celebrates love's absolut power in "Train Rides" and laments life's trasience in "Me and Mrs. Robin." With the tenderness that has made her on of our most accessible and beloved poets, Giovanni evokes a world that is not only just but also happy. Her powerful stand engages the world with a truth telling that is as eloquent as it is elegant.Intimate, edgy, and unapologetic, Blues For All the Changes bears the mark of Nikki Giovanni's unmistakable voice. At once political and intensely personal, this long-awaited volume embodies the fearless passion and wit that have made Nikki Giovanni one of our most accessible poets; her audience defies all boundaries of race, class, age, and style.From the poignant "Stealing Home," Ms. Giovanni's tribute to Jackie Robinson, to the defiant "Road Rage Blues," a jam on time and space, these fifty-one poems challenge the fates and invoke the precarious state of our environment, Giovanni's battle with illness, manners, and other topics seminal to one of our most compassionate, outspoken observers.With a reverence for the power of language, Blues For All the Changes will once again enchant Nikki Giovanni's extensive following and inspire those who are newly discovering her work.

    Sassafrass, Cypress and Indigo is the story of three "colored girls," three sisters and their mama from Charleston, South Carolina: Sassafrass, the oldest, a poet and a weaver like her mother, gone north to college, living with other artists in Los Angeles and trying to weave a life out of her work, her man, her memories and dreams; Cypress, the dancer, who leaves home to find new ways of moving and easing the contractions of her soul; Indigo, the youngest, still a child of Charleston—"too much of the south in her"—who lives in poetry, can talk to her dolls, and has a great gift of seeing the obvious magic of the world.

    Poems and selfies by Steve Roggenbuck

    E. Cummings' most experimental poems as well as some of his most memorable. The volume includes such no-famous celebrations as "i sing of Olaf glad and big" and "if there are any heavens my mother will (all be herself) have," along with such favorites as "Space being (don't forget to remember) Curved," "a clown's smirk in the skull of a baboon," and "somewhere I have never traveled, gladly beyond."

    . . Essence and Blackboard bestselling author Karen E. Quinones Miller returns with the follow-up to Satin Doll, her debut novel about four sassy women from Harlem. Puddin': Yeah, y'all know I'm gangsta wit' it. And that's why I don't give a hot damn about swindling these stupid wimps for whatever-be it a drink or their precious platinum credit cards. I may not have a college education like Gina and Tamika or a bougie job like Yvonne, but my sexy ass gets the job done.Yvonne: Let's face it: I'm too fine to be alone. I'm intelligent, gainfully employed-and did I mention how fine I am? Well, it's a lot harder to find a good man than you'd think. So why does everybody have a problem with me getting back with my ex? Please! He'd almost be perfect if he didn't still have a wife.Tamika: I guess I'm the most quiet out of all my girls. Marriage, motherhood, and med school will do that to a sista. And, hell, having a full-out drug war land in your home will certainly do the trick. It'll also keep you stressed, angry, and maybe even a little judgmental of your friends when they're sleeping with the enemy.Regina: Yeah, Little Joe ran the game twenty years ago. But it was that same game that helped me jump off my writing career. And after seeing him for the first time in years, I've got to at least talk to the man. Never mind that he looks better than ever and still has that same sexy swagger that I found irresistible. Or that he might not be the best example for my daughter...or that I'm still feeling my politician ex-hubby (just a little bit). Never mind all of that. Because talking never hurt anybody, right? Blending themes of friendship and street angst with tough, sexy, independent female characters, Satin Nights captures the edginess of urban grit and celebrates the strength of sista-hood.

    The haunting memories and shared histories of these people—their rituals and traditions—animate this land, and are celebrated in Rash’s crystalline, intensely imagined verse.With an eye for the surprising and vivid detail, Ron Rash powerfully captures the sorrows and exaltations of this wondrous world he knows intimately. Illuminating and indelible, Poems demonstrates his rich talents and confirms his legacy as a standard-bearer for the literature of the American South.

    Whether illuminating a common laborer or a legendary thinker, Dubie meets his subjects with utter compassion for their humanity and the dignity behind their creative work. In pursuit of the well-told story, his love of history is ever-present—though often he recreates his own.“With its restoration of so many out-of-print poems and its addition of new works, The Mercy Seat was one of last year’s most significant publications.” —American Book Review“The voices of Dubie’s monologues are full of astonishing intimacy.” —The Washington Post Book World

    This is a theatrical book of dilapidated houses and overgrown gardens, of passageways and thresholds, edges, prosceniums, unearthings, and root systems. The unstable property lines here rove from heaven to hell, troubling proportion and upsetting propriety in the name of unfathomable propagation. Are all the gates in this book folly? Are the walls too easily scaled to hold anything back or impose self-confinement? What won't a poem do to get to the other side?