Poetry and Meditation Collection: Contemporary Poetry

Winner of the Nobel Prize in Literature From Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realms Bound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.

Garrett Hongo's long-awaited third collection of poems is a beautiful, elegiac gathering of his Japanese-American ancestors in their Hawaiian landscape and a testament to the power of poetry, as it brings their marginalized yet heroic narratives into the realm of art. In Coral Road Hongo explores the history of the impermanent homeland his ancestors found on the island of O'ahu after their immigration from southern Japan, and meditates on the dramatic tales of the islands. In sumptuous narrative poems he takes up strands of family stories and what he calls "a long legacy of silence" about their experience as contract laborers along the North Shore of the island. In the opening sequence, he brings to life the story of his great-grandparents fleeing from one plantation to another, finding their way by moonlight along coral roads and railroad tracks. As his grandmother, a girl of ten with an infant on her back, traverses "twelve-score stands of cane / chittering like small birds, nocturnal harpies in the feral constancies of wind," Hongo asks, "Where is the Virgil who might lead me through the shallow underworld of this history?" In fact, it is Hongo who guides himself--and us--as, in these devoted acts of recollection, he seeks to dispel the dislocation at the center of his legacy. The love of art--making beauty in however provisional a culture--has clearly been a guiding principle in Hongo's poetry. In this content-rich verse, Hongo hearkens to and delivers "the luminous and the anecdotal," bringing forth a complete aesthetic experience from the shards that make up a life.

MY OTHER TONGUE begins in the archives of what has yet to be written. She writes with precision and dynamism from the borders between death (of a mother) and birth (of a daughter). What a body produces, and what produces a body: labor, trauma, memory, sacrifice, pain, danger, and language formed both on the tongue and in the culture and the spaces between what can be said and what is missing, the linguistic and existential problem of not having the right words. The darknesses in Alcalá's work emerge from what happens when we don't see ourselves in the languages that both form and destroy us as we labor in this 'dream called money.' Alcalá is a {{un}}documentarian of the highest order, a {{un}}documentarian of what history and memory try to erase. Her poems are urgent, demanding and haunting." -- Daniel Borzutzky

A self-proclaimed "vessel in which stories are told from time immemorial," poet dg nanouk okpik seamlessly melds both traditional and contemporary narrative, setting her apart from her peers. The result is a collection of poems that are steeped in the perspective of an Inuit of the twenty-first century--a perspective that is fresh, vibrant, and rarely seen in contemporary poetics. Fearless in her craft, okpik brings an experimental, yet poignant, hybrid aesthetic to her first book, making it truly one of a kind. "It takes all of us seeing, hearing, touching, tasting, and smelling to be one," she says, embodying these words in her work. Every sense is amplified as the poems, carefully arranged, pull the reader into their worlds. While each poem stands on its own, they flow together throughout the collection into a single cohesive body. The book quickly sets up its own rhythms, moving the reader through interior and exterior landscapes, dark and light, and other spaces both ecological and spiritual. These narrative, and often visionary, poems let the lives of animal species and the power of natural processes weave into the human psyche, and vice versa. Okpik's descriptive rhythms ground the reader in movement and music that transcend everyday logic and open up our hearts to the richness of meaning available in the interior and exterior worlds.

Guided by a devastatingly precise hand, Wound from the Mouth of a Wound--selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry--challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates "buckteeth & ulcer." She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse's poetry demands more of language and those who wield it. "I'm still learning not to let a stranger speak / me into a funeral." Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse--elegant, vicious, "a one-girl armageddon" draped in crushed velvet--teaches us that fragility is not synonymous with flaw.

Drawing from his experience as a translator, Forrest Gander includes in the first, powerfully elegiac section a version of a poem by the Spanish mystical poet St. John of the Cross. He continues with a long multilingual poem examining the syncretic geological and cultural history of the U.S. border with Mexico. The poems of the third section--a moving transcription of Gander's efforts to address his mother dying of Alzheimer's--rise from the page like hymns, transforming slowly from reverence to revelation. Gander has beencalled one of our most formally restless poets, and these new poems express a characteristically tensile energy and, as one critic noted, "the most eclectic diction since Hart Crane."

A musical, magical, resilient volume from the first Native American Poet Laureate of the United States. In these poems, the joys and struggles of the everyday are played against the grinding politics of being human. Beginning in a hotel room in the dark of a distant city, we travel through history and follow the memory of the Trail of Tears from the bend in the Tallapoosa River to a place near the Arkansas River. Stomp dance songs, blues, and jazz ballads echo throughout. Lost ancestors are recalled. Resilient songs are born, even as they grieve the loss of their country. Called a "magician and a master" (San Francisco Chronicle), Joy Harjo is at the top of her form in Conflict Resolution for Holy Beings. Finalist for the Griffin Poetry Prize

The breathtaking debut collection from one of America's most inventive new poets A name for the people of Honduras,Catrachos is a term of solidarity and resilience. In these unflinching, riveting poems, Roy G. Guzmán reaches across borders--between life and death and between countries--invoking the voices of the lost. Part immigration narrative, part elegy, and part queer coming-of-age story,Catrachosfinds its own religion in fantastic figures such as the X-Men, pop singers, and the "Queerodactyl," which is imagined in a series of poems as a dinosaur sashaying in the shadow of an oncoming comet, insistent on surviving extinction. With exceptional energy, humor, and inventiveness, Guzmán's debut is a devastating display of lyrical and moral complexity--an introduction to an immediately captivating, urgently needed voice.

Jericho Brown's daring new bookThe Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown's poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we've become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown's mastery, and his invention of the duplex--a combination of the sonnet, the ghazal, and the blues--is testament to his formal skill.The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.

Natalie Diaz's highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz's brilliant second collection demands that every body carried in its pages--bodies of language, land, rivers, suffering brothers, enemies, and lovers--be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: "Let me call my anxiety, desire, then. / Let me call it, a garden." In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves. Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope--in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

The long-awaited third poetry book by Vijay Seshadri, "one of the most respected poets working in America today" (Time Out New York) Vijay Seshadri's new poetry is assured and expert, his line as canny as ever. In an array of poetic forms from the rhyming lyric to the philosophical meditation to the prose essay,3 Sections confronts perplexing divisions of contemporary life--a wayward history, an indeterminate future, and a present condition of wanting to outthink time. This is an extraordinary book, witty and vivacious, by one of America's best poets.

Poems of migration, womanhood, trauma, and resilience from the celebrated collaborator on Beyoncé's Lemonade and Black Is King, award-winning Somali British poet Warsan Shire "The beautifully crafted poems in this collection are fiercely tender gifts."--Roxane Gay, author of Bad Feminist "Shire is the real thing--fresh, cutting, indisputably alive."--Dwight Garner, The New York Times Mama, I made it / out of your home / alive, raised by / the voices / in my head. With her first full-length poetry collection, Warsan Shire introduces us to a young girl, who, in the absence of a nurturing guide, makes her own way toward womanhood. Drawing from her own life, as well as pop culture and news headlines, Shire finds vivid, unique details in the experiences of refugees and immigrants, mothers and daughters, Black women and teenage girls. In Shire's hands, lives spring into fullness. This is noisy life, full of music and weeping and surahs and sirens and birds. This is fragrant life, full of blood and perfume and shisha smoke and jasmine and incense. This is polychrome life, full of henna and moonlight and lipstick and turmeric and kohl. The long-awaited collection from one of our most exciting contemporary poets, this book is a blessing, an incantatory celebration of resilience and survival. Each reader will come away changed.

The collected works of one of contemporary poetry's most original voices Gathered together, the poems of Frank Bidart perform one of the most remarkable transmutations of the body into language in contemporary literature. His pages represent the human voice in all its extreme registers, whether it's that of the child-murderer Herbert White, the obsessive anorexic Ellen West, the tormented genius Vaslav Nijinsky, or the poet's own. And in that embodiment is a transgressive empathy, one that recognizes our wild appetites, the monsters, the misfits, the misunderstood among us and inside us. Few writers have so willingly ventured to the dark places of the human psyche and allowed themselves to be stripped bare on the page with such candor and vulnerability. Over the past half century, Bidart has done nothing less than invent a poetics commensurate with the chaos and appetites of our experience. Visionary and revelatory, intimate and unguarded, Bidart'sHalf-light: Collected Poems 1965-2017 are a radical confrontation with human nature, a conflict eternally renewed and reframed, restless line by restless line.

Part fact, part fiction, Tyehimba Jess's much anticipated second book weaves sonnet, song, and narrative to examine the lives of mostly unrecorded African American performers directly before and after the Civil War up to World War I.Oliois an effort to understand how they met, resisted, complicated, co-opted, and sometimes defeated attempts to minstrelize them. So, while I lead this choir, I still find that I'm being led...I'm a missionary mending my faith in the midst of this flock... I toil in their fields of praise. When folks see these freedmen stand and sing, they hear their God speak in tongues. These nine dark mouths sing shelter; they echo a hymn's haven from slavery's weather. Detroit nativeTyehimba Jess' first book of poetry,leadbelly, was a winner of the 2004 National Poetry Series. Jess, a Cave Canem and NYU Alumni, has received fellowships from the Whiting Foundation, National Endowment for the Arts, Illinois Arts Council, and the Provincetown Fine Arts Work Center. Jess is also a veteran of the 2000 and 2001 Green Mill Poetry Slam Team. He exhibited his poetry at the 2011 TEDxNashville Conference. Jess is an Associate Professor of English at College of Staten Island.

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What if the women of the Bible told their own stories? Lady Midrash: Poems Reclaiming the Voices of Biblical Women brings to life alternative interpretations and forgotten female perspectives from the Hebrew Bible and New Testament. Following in the footsteps of Jewish midrash, a storytelling tradition that explores the gaps in scripture, these poems re-examine the experiences of Biblical women. Sidelined heroines are celebrated. Supposed villainesses get to speak for themselves. Lady Midrash reverses convention, probes familiar narratives, attends to small moments, highlights peripheral and silent characters, and names the nameless. The imagination of midrash provides the reader with a creative space to rethink assumptions and reconsider the accounts of women in the Jewish and Christian traditions.

What elevates 'teaching my mother how to give birth', what gives the poems their disturbing brilliance, is Warsan Shire's ability to give simple, beautiful eloquence to the veiled world where sensuality lives in the dominant narrative of Islam; reclaiming the more nuanced truths of earlier times - as in Tayeb Salih's work - and translating to the realm of lyric the work of the likes of Nawal El Saadawi. As Rumi said, "Love will find its way through all languages on its own"; in 'teaching my mother how to give birth', Warsan's d but pamphlet, we witness the unearthing of a poet who finds her way through all preconceptions to strike the heart directly. Warsan Shire is a Kenyan-born Somali poet and writer who is based in London. Born in 1988, she is an artist and activist who uses her work to document narratives of journey and trauma. Warsan has read her work internationally, including recent readings in South Africa, Italy and Germany, and her poetry has been translated into Italian, Spanish and Portuguese.

The complete early work of the renowned African-American poet. This omnibus includes her first seven volumes of poetry from her early years, 1967 to 1983: Black Feeling Black Talk; Black Judgement; Re: Creation; My House; The Women and the Men; Cotton Candy on a Rainy Day; and Those Who Ride the Night Winds. A timeless classic, it is both a reflection of the changes in her own life and an evocation of a nation's past and its present.

Secrets & Stars is the debut poetry collection of poet, photographer, and spiritual director, Alix Klingenberg. Playing with archetype and myth, this book explores a return to wholeness, a rejection of fractured existence, and a claiming of the entire self as beloved, sacred, and divine. With roots in earth-centered spirituality, the elements of nature, wilderness, and cycles permeate this volume that manages to illuminate, in a truly intimate way, the struggles of a poet coming into her own voice.

Finalist for the 2021 National Book Award for Poetry, this Yale Series of Younger Poets volume is a lyrical and polyvocal exploration of what it means to fight for yourself "Bailey invites us to see what twenty-first-century life is like for a young woman of the Black diaspora in the long wake of a history of slavery, brutality, and struggling for freedoms bodily and psychological." --Carl Phillips, from the Foreword "Desiree C. Bailey sings true in her debut. Wherever this voice goes a Caribbean sun travels with it transfiguring what a maroon might overhear--a call awaiting response."--Yusef Komunyakaa The 115th volume of the Yale Series of Younger Poets, What Noise Against the Cane is a lyric quest for belonging and freedom, weaving political resistance, Caribbean folklore, immigration, and the realities of Black life in America. Desiree C. Bailey begins by reworking the epic in an oceanic narrative of bondage and liberation in the midst of the Haitian Revolution. The poems move into the contemporary Black diaspora, probing the mythologies of home, belief, nation, and womanhood. Series judge Carl Phillips observes that Bailey's "poems argue for hope and faith equally. . . . These are powerful poems, indeed, and they make a persuasive argument for the transformative powers of steady defiance."

New York Times bestselling author and presidential inaugural poet Amanda Gorman captures a shipwrecked moment in time and transforms it into a lyric of hope and healing. In Call Us What We Carry, Gorman explores history, language, identity, and erasure through an imaginative and intimate collage. Harnessing the collective grief of a global pandemic, this beautifully designed volume features poems in many inventive styles and structures and shines a light on a moment of reckoning. Call Us What We Carry reveals that Gorman has become our messenger

Tanaya Winder's Words Like Love sings the joys, glories, and laments of love. As an accomplished poet, Winder traverses the darkness in a quest to learn more about the most complex of subjects. With beauty and ease, she explores emotion and thought through the poems featured in this debut collection.

The Essential June Jordan honors the enduring legacy of a poet fiercely dedicated to building a better world. In this definitive volume, introduced by Pulitzer Prize winner Jericho Brown, June Jordan's generous body of poetry is distilled and curated to represent the very best of her works. Written over the span of several decades--from Some Changes in 1971 to Last Poems in 2001­--Jordan's poems are at once of their era and tragically current, with subject matter including racist police brutality, violence against women, and the opportunity for global solidarity amongst people who are marginalized or outside of the norm. In these poems of great immediacy and radical kindness, humor and embodied candor, readers will (re)discover a voice that has inspired generations of contemporary poets to write their truths. June Jordan is a powerful voice of the time-honored movement for justice, a poet for the ages.