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Finalist for the National Book Award for Poetry
Winner of the Forward Prize for Best Collection
"[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy."—The New Yorker
Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines
In New Collected Poems, Berry reprints the nearly two hundred pieces in Collected Poems, along with the poems from his most recent collections—Entries,...
From one of America's most celebrated poets, Nikki Giovanni, comes this poignant collection of poetry that celebrates the simple pleasures of everyday life and the bonds we share with those closest to us.
"This slim volume delights on every page. There are stories, imaginings, whimsy, and startling images which prove the poet's power and her command of language . . . Anyone with a love of language will be delighted with this book...
Shortlisted for the T. S. Eliot Prize
Finalist for the Forward Prize for Best Collection
The extraordinary new poetry collection by Tracy K. Smith, the Poet Laureate of the United States
Even the men in black armor, the ones
Jangling handcuffs and keys, what else
Are they so buffered against, if not love's blade
Sizing up the heart's familiar meat?
We watch and grieve. We sleep, stir, eat.
Winner of the 2014 National Book Award for Poetry
A luminous, seductive new collection from the "fearless" (The New York Times) Pulitzer Prize–winning poet
Louise Glück is one of the finest American poets at work today. Her Poems 1962–2012 was hailed as "a major event in this country's literature" in the pages of The New York Times. Every new collection is at once a deepening and a revelation. Faithful
17) Electric arches
“Elegant and playful . . . The poet invents new forms and updates classic ones.”—Elle
“[Fatimah] Asghar interrogates divisions along lines of nationality, age, and gender, illuminating the forces by which identity is fixed or flexible.”—The New Yorker
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