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In this collection of over 100 poems, Richard Blanco has carefully selected poems from his previous books that represent his evolution as a writer grappling with his identity, working to find and define “home,” and bookended them with new poems that address those issues from a fresh, more mature perspective, allowing him to approach surrendering the pain and urgency of his past explorations.

This imaginative and singular poetry collection interrogates the broadest ideas surrounding the humble pig—farm animal, men/masculinity, police and state violence, desire, queerness, global food systems, religion/Judaism and law—to reimagine various chaotic histories of the body, faith, ecology, desire, hygiene, and power. Sam Sax draws on autobiography and history to create poems that explore topics ranging from drag queens and Miss Piggy to pig farming and hog lagoons.

Mary Magdalene POP Icon is the second poetry chapbook from Elizabeth Fern Jensen, a feminist transgender poet who explores the life and legacy of Saint Mary Magdalene. This book is a continuation of Jensen’s celebration of Mary Magdalene as a powerful feminist icon and seeks to uncover the truth about her life and contributions to society.

Bloody Mary Magdalene is Elizabeth Fern Jensen's third chapbook, a collection of poems that reveals the poet's visions of Mary Magdalene, along with her experiences during her stay at an inpatient mental hospital. Through the lens of her transgender identity and feminist activism, Jensen explores the complex relationship between the Divine Feminine and the patriarchal structures of the world, and how Mary Magdalene embodies the struggle for liberation and healing.

Fall into this collection of poetry and prose inspired by healing and being open to love again, perfect for fans of Rupi Kaur and Courtney Peppernell.

Debut full-length book of poetry from PEN Emerging Voices Fellow, this interdisciplinary, daring project combines poetry, art exhibition, & educational instillation, akin to Claudia Rankine's "Citizen," to manifest a future and a universe where Black, queer, nonbinary, feminine, and all marginalized people live in peace & joy.

In her second large collection of poetry, Jenna Citrus chronicles her adventures with diet as poison, the new aboration laws, and her search to find a way to express her bisexuality while in a heterosexual relationship.

 Prelude to Bruise is a song from a tightrope, balancing ecstatic existence and the chaos that always threatens to engulf a life on the margins. How do we reckon our past without being ravaged by it? How do we use people, their bodies, to express ourselves? Danger is everywhere in these poems, but never overwhelms them; the poet is always an anchor on the other side. And his story carries us relentlessly along. 

Marlanda Dekine’s debut collection is a holy, radical unlearning and reclamation of self. What does it mean to be a Gullah-Geechee descendant from a rural place where a third of the nation’s founding wealth was harvested by trafficked West and Central Africans? Dekine’s poems travel across age and time, signaling that both the past and future exist in the present. Through erasure and persona, Dekine reimagines and calls to task the Works Progress Administration narratives, modern-day museums, and intergenerational traumas.

La colección «Poesía portátil» nos brinda en No creo poder tocar el cielo con las manos una traducción inédita de algunos de los escasos textos que se conservan de la poeta griega Safo, figura clave en la tradición poética femenina europea.

A follow up to "I Watched Through Windows".

“Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” 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.

In Trace Evidence, the urgent follow-up to his award-winning debut Into Each Room We Enter without Knowing, Charif Shanahan continues his piercing meditations on the intricacies of mixed-race identity, queer desire, time, mortality, and the legacies of anti-Blackness in the US and abroad. With rich lyricism, power, and tenderness, Trace Evidence centers the racial periphery and excavates the vestiges of our violent colonial past in the most intimate aspects of our lives.

A new poetry collection from Britain's foremost truth-teller, in Divisible by Itself and One Kae Tempest masterfully steers a path between their more public-facing performance and dramatic work and the contemplative voice that came to the fore in Running Upon the Wires. Questions of integrity – hence the prime number of the title – are addressed in direct, affecting terms: how can we be true to ourselves while under constant pressure to conform? Throughout the poems, ideas of form – of the body, gender, and in nature – resurface and resolve.