Whether she is writing about an enraged teenager gone "wilding" in Central Park, fifteen-year-old Latasha Harlins gunned down by a Korean grocer, or a brutalized child who grows up to escape her probable fate through the miracle of art, Sapphire's vision in this collection of poetry and prose is unswervingly honest."Stunning . . . . One of the strongest debut collections of the '90s."--Publishers Weekly

    Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

    Unique to this anthology is its focus on creating positive social change through gorgeous, gusty poetry. Alongside and embedded in featured poems are concrete ways to address social and political issues raised. The goal of We Will be Shelter is to raise awareness, encourage critical self-reflection, and call readers to action.

    She was called Hu Gu Po, and she hungered to eat children, especially their toes. Soon afterwards, Daughter awakes with a tiger tail. And more mysterious events follow: Holes in the backyard spit up letters penned by her grandmother; a visiting aunt arrives with snakes in her belly; a brother tests the possibility of flight. All the while, Daughter is falling for Ben, a neighborhood girl with strange powers of her own. As the two young lovers translate the grandmother’s letters, Daughter begins to understand that each woman in her family embodies a myth–and that she will have to bring her family’s secrets to light in order to change their destiny.With a poetic voice of crackling electricity, K-Ming Chang is an explosive young writer who combines the wit and fabulism of Helen Oyeyemi with the subversive storytelling of Maxine Hong Kingston. Tracing one family’s history from Taiwan to America, from Arkansas to California, Bestiary is a novel of migration, queer lineages, and girlhood.

    The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life--not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.Hardcover is un-jacketed.

    A vital document of black modernism and one of the earliest overtly queer fictions in the African American tradition. Published for the first time.Buried in the archive for almost ninety years, Claude McKay's Romance in Marseille traces the adventures of a rowdy troupe of dockworkers, prostitutes, and political organizers--collectively straight and queer, disabled and able-bodied, African, European, Caribbean, and American. Set largely in the culture-blending Vieux Port of Marseille at the height of the Jazz Age, the novel takes flight along with Lafala, an acutely disabled but abruptly wealthy West African sailor. While stowing away on a transatlantic freighter, Lafala is discovered and locked in a frigid closet. Badly frostbitten by the time the boat docks, the once-nimble dancer loses both of his lower legs, emerging from life-saving surgery as what he terms "an amputated man." Thanks to an improbably successful lawsuit against the shipping line, however, Lafala scores big in the litigious United States. Feeling flush after his legal payout, Lafala doubles back to Marseille and resumes his trans-African affair with Aslima, a Moroccan courtesan. With its scenes of black bodies fighting for pleasure and liberty even when stolen, shipped, and sold for parts, McKay's novel explores the heritage of slavery amid an unforgiving modern economy. This first-ever edition of Romance in Marseille includes an introduction by McKay scholars Gary Edward Holcomb and William J. Maxwell that places the novel within both the "stowaway era" of black cultural politics and McKay's challenging career as a star and skeptic of the Harlem Renaissance.

    It's part nostalgia, part confusion, and part an ongoing wondering: How do any of us achieve adulthood? And why would we want to, if we had the choice? This collection is woven from and interrupted by extraordinary sequences, including Stephanie poems about Stephen's female self; poems on particular years of the poet's early life, each with its own memories, desires, insecurities, and pop songs; and versions of poems by the Greek poet Callimachus, whose present-day incarnation worries (who doesn't?) about mortality, the favor of the gods, and the career of Taylor Swift. The collection also includes poems on politics, location, and parenthood. Taken all together, this is Stephen Burt's most personal and most accomplished collection, an essential work that asks who we are, how we become ourselves, and why we make art.

    The daughter of a Nigerian Muslim woman and a former Southern Baptist black man, Geter charts the history of a black family of mixed citizenships through poems imbued by migration, racism, queerness, loss, and the heartbreak of trying to feel at home in a country that does not recognize you. Through her mother's death and her father's illnesses, Geter weaves the natural world into the discourse of grief, human interactions, and socio-political discord. This collection thrums with authenticity and heart.

    A series of Turing Test-inspired poems grounds its exploration of questions not just of identity, but of consciousness―how to be tender and feeling and still survive a violent world filled with artificial intelligence and automation. We are dropped straight into the tangled intersections of technology, violence, erasure, agency, gender, and loneliness.

    It is clear that the author is madly in love, not only with her partner for whom she writes both idiosyncratic and sultry poems for, but in love with language, in love with queerness, in love with the therapeutic process of bankrupting the politics of shame. These poems tackle gun violence, toxic masculinity, LGBTQ* struggles, suicidality, and the oppression of women's bodies, while maintaining a vivid wildness that the tongue aches to speak aloud. Known best for breathtaking last lines and truths that will bowl you over, Drive Here and Devastate Me will "relinquish you from the possibility of meeting who you could have been, and regretting who you became."

    In 55 poems that swerve and crackle with a rare music, Inua Ellams unleashes a full-throated assault on empire and its legacies of racism, injustice and toxic masculinity.Written on the author's phone, in transit, between meetings, before falling asleep and just after waking, this is poetry as polemic, as an act of resistance, but also as dream-vision. At its heart, this book confronts the absolutism and 'foolish machismo' of hero culture-from Perseus to Trump, from Batman to Boko Haram. Through the thick gauze of history, these breathtaking poems look the world square in the face and ask, "What the actual - ?".'This is what poetry looks like when you have nothing to lose, when you speak from the heart, when you have spent years honing your craft so that you can be free. This is what poetry looks like when you are a word sorcerer, a linguistic swordsman, a metaphor-dazzler, a passionate creator of poetry as fire, as lament, as beauty, as reflection, as argument, as home. I was blown away by this book' Bernadine Evaristo'This first collections is a masterclass in subtlety: poems that manage to be tender, angry, vulnerable, sad, funny, yearning and interrogating of history, both recent and long ago, all at once. It's a phenomenal piece of work about what it is to exist in this time, and his dissection of pop culture, colonialism, social interactions and the cruelty of the world, of men, of systems will be read and studied for years.' Nikesh Shukla

    Systems of oppression thrive off our inability to make peace with difference and injure the relationship we have with our own bodies.The Body Is Not an Apology offers radical self-love as the balm to heal the wounds inflicted by these violent systems. World-renowned activist and poet Sonya Renee Taylor invites us to reconnect with the radical origins of our minds and bodies and celebrate our collective, enduring strength. As we awaken to our own indoctrinated body shame, we feel inspired to awaken others and to interrupt the systems that perpetuate body shame and oppression against all bodies. When we act from this truth on a global scale, we usher in the transformative opportunity of radical self-love, which is the opportunity for a more just, equitable, and compassionate world--for us all.

    LGBT Studies. Asian American Studies. In these poems, Leah Lakshmi Piepzna-Samarasinha explores how queer people of color resist and transform violence through love and desire. Remembering and testifying about the damage caused by the racial profiling of South Asian and Arab people post 9/11, border crossings and internal and external wars in Sri Lanka and the diaspora, LOVE CAKE also documents the persistence of survival and beauty--especially the dangerous beauty found in queer people of color loving and desiring. LOVE CAKE maps the joys and challenges of reclaiming the body and sexuality after violence, examining a family history of violence with compassion and celebrating the resilient, specific ways we create new families, take our bodies back, love, fight, and transform violence.

    This work aims to bridge the clinical distance of medicine to face the pain of mortality, the brokenness of society and the vulnerability of human beings.

    Chronicling the complexities, joys, and challenges of this transitional phase of life, Please Don’t Go Before I Get Better is a powerful, deeply affecting work that pierces your heart with its refreshing candor and vulnerability. A poignant exploration of self-image, self-discovery, and self-reflection, this anthology brilliantly captures the universal experience of growing up, and you are bound to find yourself reflected in these glimmering pages.