A Coretta Scott King Honor Book
Winner of the Walter Dean Myers Award

A thoughtful celebration of Black girlhood by award-winning author and poet Renée Watson.

In this semi-autobiographical collection of poems, Renée Watson writes
about her experience growing up as a young Black girl at the intersections of race, class, and gender.

Using a variety of poetic forms, from haiku to free verse, Watson shares recollections of her childhood in Portland, tender odes to the Black women in her life, and urgent calls for Black girls to step into their power.

Black Girl You Are Atlas encourages young readers to embrace their future with a strong sense of sisterhood and celebration. With full-color art by celebrated fine artist Ekua Holmes throughout, this collection offers guidance and is a gift for anyone who reads it.

Hip-Hop is the largest youth culture in the history of the planet rock. This is the first poetry anthology by and for the Hip-Hop generation.

It has produced generations of artists who have revolutionized their genre(s) by applying the aesthetic innovations of the culture. The BreakBeat Poets features 78 poets, born somewhere between 1961-1999, All-City and Coast-to-Coast, who are creating the next and now movement(s) in American letters.

The BreakBeat Poets is for people who love Hip-Hop, for fans of the culture, for people who've never read a poem, for people who thought poems were only something done by dead white dudes who got lost in a forest, and for poetry heads. This anthology is meant to expand the idea of who a poet is and what a poem is for.

The BreakBeat Poets are the scribes recording and remixing a fuller spectrum of experience of what it means to be alive in this moment. The BreakBeat Poets are a break with the past and an honoring of the tradition(s), an undeniable body expanding the canon for the fresher.

For fans of Rupi Kaur and Cleo Wade, this first collection of poetry from the viral TikTok poet Josie Balka evokes themes of nostalgia, love, envy, and hope, speaking to the universal longings that live deep in our souls.

I’ve never seen anyone at a public pool with a memorable enough body, good or bad, that I think about it ever again.

If this line sounds familiar, it’s because you’ve heard it in the background of thousands of videos on social media—a humbling reminder from poet and radio personality Josie Balka that what’s important in our lives now isn’t necessarily what’s important to us in the long run.

I Hope You Remember, Josie’s first book of poetry, includes this poem and over eighty others, some previously published and others never shared before. Every page in this collection hits home, rhapsodizing on universal experiences like jealousy, family relationships, complex body image, falling in and out of love (with others and yourself), and the everchanging lens of nostalgia. With sparse, clear prose, Josie’s poetry looks to bring forth deep feelings like grief, envy, apathy, joy, and, most importantly, hope.

Evocative and full of force, these poems will hit you in the gut, pull your heartstrings, and make you long for moments past.

The follow-up to her acclaimed poetry debut Split, Becoming Ghost documents Cathy Linh Che’s parents’ experiences as refugees who escaped the Vietnam War and then were cast as extras in Francis Ford Coppola’s film Apocalypse Now, placing them at the margins of their own story. The poetry collection uses persona, speculation, and the golden shovel form as a means of moving Vietnamese voices from the periphery to the center. The speaker’s disownment raises questions about the challenges of using parents as poetic subjects, telling familial stories to a broader public, and the meaning of forgiveness.

If I could fly backward, I would.
To the safety of branches, to the time
when my heart still raced for you,
twelve hundred beats a minute.

In poetry that is at once bold and lyrical, affecting and devastatingly frank, Miranda Cowley Heller takes us through childhood, marriage, motherhood, and beyond. Suffused with the natural world and the landscape of Cape Cod, where many of the poems are set, What the Deep Water Knows contemplates love in all the seasons.

In this comprehensive and vibrant poetry anthology, bestselling author and poet Kwame Alexander curates a collection of contemporary anthems at turns tender and piercing and deeply inspiring throughout. Featuring work from well-loved poets such as Rita Dove, Jericho Brown, Warsan Shire, Ross Gay, Tracy K. Smith, Terrance Hayes, Morgan Parker, and Nikki Giovanni, This Is the Honey is a rich and abundant offering of language from the poets giving voice to generations of resilient joy, “each incantation,” as Mahogany L. Browne puts it in her titular poem, is “a jubilee of a people dreaming wildly.”
 
This essential collection, in the tradition of Dudley Randall’s The Black Poets and E. Ethelbert Miller’s In Search of Color Everywhere, contains poems exploring joy, love, origin, race, resistance, and praise. Jacqueline A.Trimble likens “Black woman joy” to indigo, tassels, foxes, and peacock plumes. Tyree Daye, Nate Marshall, and Elizabeth Acevedo reflect on the meaning of “home” through food, from Cuban rice and beans to fried chicken gizzards. Clint Smith and Cameron Awkward-Rich enfold us in their intimate musings on love and devotion. From a “jewel in the hand” (Patricia Spears Jones) to “butter melting in small pools” (Elizabeth Alexander), This Is the Honey drips with poignant and delightful imagery, music, and raised fists.
 
Fresh, memorable, and deeply moving, this definitive collection a must-have for any lover of language and a gift for our time.
 

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNEXT celebrates the embodied narratives of Latinidad. Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space. Like Hip-Hop, we honor what was, what is, and what's next.

Winner of the Pulitzer Prize for Poetry

In Late Wife, a woman explores her disappearance from one life and reappearance in another as she addresses her former husband, herself, and her new husband in a series of epistolary poems. Though not satisfied in her first marriage, she laments vanishing from the life she and her husband shared for years. She then describes the unexpected joys of solitude during her recovery and emotional convalescence. Finally, in a sequence of sonnets, she speaks to her new husband, whose first wife died from lung cancer. The poems highlight how rebeginning in this relationship has come about in part because of two couples’ respective losses. 

The most personal of Claudia Emerson’s poetry collections, Late Wife is both an elegy and a celebration of a rich present informed by a complex past.

DAVID DUCHOVNY'S DEBUT BOOK OF POETRY covers a range of intimate themes, in particular his relationship with his father, who looms large throughout the work. Here, Duchovny's typically clever wordplay distills to an emotionally impactful portrayal of what the author holds most dear. His approach to poetry is beautifully encapsulated in his introduction:

Poetry is not useful. And that is exactly why we need it. It reminds us of two important things: our ultimate lack of agency (unpopular to say, I know) and our inability to say anything plain, our inability to capture what it means to be human with the imperfect tool of words; we come face-to-face with our shadow selves, for in the end we will all die and be forgotten, and come away with nothing, nothing in the way of utility anyway, no talking points, no bullet points, no propaganda, no resolutions, no policy, no knowledge. If anything, maybe we remember a few lines . . . something like a pop song from the collective unconscious, something like wisdom . . . You see, I wanted to say it plain, but out comes that torrent of modifiers and adjustments, denials, double negatives, shading, stabs at wit, backpedaling, playing at capturing the lightning. Maybe this time. Maybe that's what a poem is--that glorious feeling of Maybe this time I'll get it right. If that's the case, it seems a worthy enterprise to me.

With About Time--perhaps his most personal work to date--Duchovny (author, actor, singer-songwriter, filmmaker, podcaster) continues his journey as one of our most prolific creators.

Front cover photo (c) Stefan Sappert

TOWARD A LIVING ARCHIVE OF AFRICAN POETRY collects Kwame Dawes's and Chris Abani's introductory essays for the New-Generation African Poets Chapbook Box Set Series. These essays are conversations that celebrate the work of emerging African poets and build--meticulously and with principled care--a vision of a pluralistic literary community in which poets may thrive. Over more than ten years, Dawes and Abani have offered readers a glimpse into their editorial labor and philosophy, which are guided by generosity and curiosity and trust in the work of African poets. Dawes's and Abani's editorial labor is a gift, an expansive curation that honors the past, present, and future of African literature.

In 2024, the APBF celebrates the publication of the tenth edition of the New-Generation African Poets Chapbooks Box Sets. Each of the box sets, edited by Kwame Dawes and Chris Abani, feature a selection of chapbooks by emerging African authors who have not yet published a full-length collection of poetry.

Many thought-provoking threads related to African poetics appear across the essays. They advance a transnational vision of and for African poetry, one arising from their literary leadership to imagine and create a landscape in which the work of as many poets as possible can thrive, receive recognition, and be preserved for future generations. For, as they mention in their introduction to NANE, "the idea of a poetic community enacts the promise of being seen."

A NEW YORK TIMES NOTABLE BOOK • WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRY • LONGLISTED FOR THE GRIFFIN POETRY PRIZE • A New York Times Book Review Editors' Choice • From the award-winning poet at the height of his career, a book of personal and American experiences, both beautiful and troubling, touching on the generative cycle of loss and renewal

“Kevin Young is a poet of exceptional depth and sensitivity. . . . Let yourself focus on every phrase.” —Ron Charles, The Washington Post

"Night Watch continues one of the most vital currents in contemporary poetry, transforming history and its silences into lyric through the poet’s eloquent invitation: ‘O wounded soul,/ speak.’” —The New York Times

Following on his exquisite Stones, Kevin Young’s new collection, written over the span of sixteen years, shapes stories of loss and legacy, inspired in part by other lives. After starting in the bayous of his family's Louisiana, Young journeys to further states of mind in “All Souls,” evoking “The whale / who finds the shore / & our poor prayers.” Another central sequence, “The Two-Headed Nightingale,” is spoken by Millie-Christine McCoy, the famous conjoined African American “Carolina Twins.” Born into enslavement, stolen, and then displayed by P. T. Barnum and others, the twins later toured the world as free women, their alto and soprano voices harmonizing their own way. Young’s poem explores their evolving philosophical selfhood and pluralities: “As one we sang, /we spake— / She was the body / I the soul / Without one / Perishes the whole.”
In “Darkling,” a cycle of poems inspired by Dante’s Divine Comedy, Young expands and embroiders the circles of Hell, drawing a cosmology of both loneliness and accompaniment, where “the dead don’t know / what to do / with themselves.” Young writes of grief and hope as familiar yet surprising states: “It’s like a language, / loss—,” he writes, “learnt only / by living—there—.” Evoking the history of poetry, from the darkling thrush to the darkling plain, Young is defiant and playful on the way through purgatory to a kind of paradise. When he goes, he warns, “don't dare sing Amazing Grace”—that “National / Anthem of Suffering.” Instead, he suggests, “When I Fly Away, / Don't dare hold no vigil . . . Just burn the whole / Town on down.”
This collection will stand as one of Young’s best—his voice shaping sorrow with music, wisdom, heartache, and wit.

Founded in 1933 near Asheville, North Carolina, Black Mountain College fostered experimentation and interdisciplinary learning, placing the arts at the heart of its curriculum. As such, the college was home to and served as inspiration for many modern and postmodern American poets. Some of them, including Charles Olson, Robert Creeley, and Denise Levertov, appeared in Donald Allen's groundbreaking New American Poetry anthology published in 1960, later becoming part of the American poetry canon. However, many writers affiliated with Black Mountain College have been overlooked. The Anthology of Black Mountain College Poetry features over fifty poets selected with an expansive historical and critical lens, including those not typically considered as poets, such as composer John Cage, architect Buckminster Fuller, and visual artist Josef Albers. Many years in the making, this book presents the clearest picture of the poetry and poetics of Black Mountain College yet.

A Haitian-born, Boston-based poet explores the personal and political stories of the Haitians who were part of Congo’s 1960s decolonization movement

Between 1960 and 1975, thousands of Haitian professionals emigrated to Congo, a fellow Black francophone nation that emerged under the revolutionary new leadership of Patrice Lumumba. As Danielle Legros Georges writes in the introduction to this collection, these émigrés sought to “escape repression in Haiti, start new lives in Africa, and participate in a decolonizing Congo.” Among them were her parents.

Grounded in these personal and social histories, Three Leaves, Three Roots is a collection of Legros Georges’s creative reconstructions of the Haiti-Congo experience. She interweaves her verses with excerpts from primary sources such as the interviews she conducted with the Congo émigrés and letters written by people both famous and obscure, including Lumumba, Fidel Castro, and members of Legros Georges’s family.

The result is a richly layered portrayal of an era of decolonization and rebuilding, a time that sparked with both promise and vulnerability for the Pan-Africanist and Black Power movements. This collection is an important work of Haitian American poetry and of Black history: it reminds us, artfully, that movements of solidarity among people of color have always existed and always will exist.