INCESSANT BEAUTY is a feast for the senses and the mind. Ana Rossetti (from Cádiz, Spain), who began her literary career in the late seventies soon after dictator Francisco Franco’s death in 1975, is an award winning poet and writer. She became prominent among the many women poets who used the lifting of censorship to produce a fresh, often daring, body of poetry. INCESSANT BEAUTY offers to an English-speaking audience a first glimpse into Rossetti’s eclectic and voracious symbolic universe. Editor and translator Carmela Ferradáns has selected poems that offer a wide range of themes and poetic registers that span more than thirty years. Presented in chronological order, they vary from the playful, often cheeky, early poems for which she is well-known, to the more brooding meditations on transcendental human qualities, to the latest festive celebrations of the poetic word itself. In INCESSANT BEAUTY, Rossetti maps out displacement and exile in the fringes of the heart, bringing solidarity with one another to the core of our shared humanity.

BLACK LIVES HAVE ALWAYS MATTERED, A COLLECTION OF ESSAYS, POEMS AND PERSONAL NARRATIVES, edited by Abiodun Oyewole, extends beyond the Black Lives Matter movement’s primary agenda of police brutality to acknowledge that even when affronted with slavery, segregation and Jim Crow, racial injustice and inequality, black lives have always mattered. While written primarily by African American poets, writers, activists and scholars, selections are also from people of the Latino and African diasporas and white activists. Collectively, these 79 contributors provide a call-to-action that challenges readers to confront long-held values and beliefs about black lives, as well as white privilege and fragility, as it surveys the historical and contemporary ravages of racism and its persistence of structural inequality. More importantly, BLACK LIVES HAVE ALWAYS MATTERED provides a first-hand perspective to a problem known to the African American community long before the Black Lives Matter movement revealed it to the general public: that black lives have always mattered. Connecting the past to the present, the contributors of BLACK LIVES HAVE ALWAYS MATTERED provide an eye-opening and engaging collection that has the potential to reignite a broader push for black liberation and equality for all.

A COUNTRY WITHOUT BORDERS, POEMS AND STORIES OF KASHMIR is the debut collection of Lalita Pandit Hogan, an expatriate Kashmiri scholar and poet who shares with readers the loss of identity and home, culture, migration, womanhood, otherness and exile. Blooming with intense lyricism and fertile imagery, these full-blooded poems are elegant, mythic, and intricately woven, evoking a home no longer accessible. A COUNTRY WITHOUT BORDERS is an invaluable collection for all who are interested in cultural remembrance and meditations that reflect postcolonial poetry, and to students reading South Asian literature and culture.

BIRDS ON THE KISWAR TREE by Peruvian Andean poet Odi Gonzales presents poems that sing in the voices of native birds and speak through the devout, but subversive, Quechua artists of Peru’s colonial era. Their religious art provides the imagery for these astounding poems. In the Eden painted by one anonymous artist, Andean kiswar trees grow, native ñukchu flowers bloom, llamas graze, and parrots perch in the trees, and in out-of-the-way nooks of Andean churches, rebel angels hide, armed with harquebuses. Canvas by canvas, poem by poem, Gonzales gives us a poetry collection as a living and talking museum in which the Quechua artists of Peru’s past demonstrate both their sincere Christian faith and their opposition to the Spanish destruction of the Inca empire. Originally published in Peru in 2005 as La Escuela de Cusco (The School of Cusco), BIRDS ON THE KISWAR TREE stands as an elegant and richly imagined tribute to these indigenous and mestizo artists. By extension, it shows how artists may put forth their views when prevailing circumstances make outward protest a perilous option.

WHAT DOES IT MEAN TO BE WHITE IN AMERICA? BREAKING THE WHITE CODE OF SILENCE, A COLLECTION OF PERSONAL NARRATIVES, is a 680-page groundbreaking collection of 82 personal narratives that reflects a vibrant range of stories from white Americans who speak frankly and openly about race. In answering the question, some may offer viewpoints one may not necessarily agree with, but nevertheless, it is clear that each contributor is committed to answering it as honestly as possible. WHAT DOES IT MEAN TO BE WHITE IN AMERICA? provides an invaluable starting point that includes numerous references and further readings for those who seek a deeper understanding of race in America.

PROVIDENCIA, Sean Frederick Forbes’s debut poetry collection, offers deeply personal poetry that digs beneath the surface of family history and myth. This coming of age narrative traces the experience of a gay, mixed-race narrator who confronts the traditions of his parents’ and grandparents’ birthplace: the seemingly idyllic island of Providencia, Colombia against the backdrop of his rough and lonely life in Southside Jamaica, Queens. These lyric poems open doors onto a third space for the speaker, one that does not isolate or hinder his sexual, racial, and artistic identities. Written in both free verse and traditional poetic forms, PROVIDENCIA conjures numerous voices, images, and characters to explore the struggles of self-discovery.

AFTER HOUSES is an extended meditation on homelessness. In unflinching, raw poetry, poet Claire Millikin explores states of homelessness, and a longing for, even a devotion to, houses—houses as spaces where one could be safe and at ease. The poems move through an American landscape, between the South and the North, between childhood and adulthood, reaching toward a home that’s never reached, but always at one’s fingertips. Throughout the collection, Millikin draws from personal and family history, from classical mythology and architectural theory, to shape a poetry of empathy, in which some of the places where people get lost in America are faced and given place. AFTER HOUSES echo the voices of girls who have not quite survived, but who persist, intact in the way that Rimbaud insists on intactness, in words.

LAST OF THE PO’RICANS Y OTROS AFRO-ARTIFACTS, the debut poetry collection of Not4Prophet, provides an incredible verbal and musical profusion of poetry that reflects the cultural landscapes of the perpetual islands of Puerto Rican and New York City through the eyes of a Puerto Rican born in Ponce, living in El Barrio/East Harlem and the South Bronx. As he elaborates this “otherness,” which includes the hassles of poverty, racial pride and racial discord, Not4Prophet pays homage to the old school cats from the Nuyorican and Black Arts movements. Written in free verse and layered with cultural and historical references, LAST OF THE PO’RICANS breaks boundaries and challenges us with iconic imagery and word play that dares to speak of the unspeakable.. With graphics by Vagabond and an introduction by Tony Medina.

BROKE BAROQUE is the third in a series of Broke Books by award-winning poet, Tony Medina. Centered on Medina’s iconic everyman, Broke, a character that bears witness to his plight of homelessness in a humorous yet profound way. BROKE BAROQUE contains poetry peppered with images articulating Broke’s erratic experiences on the streets of Any City, USA. Through tall tales, anecdotes, episodes, rants and jokes, Broke eloquently and irreverently conveys his marginalization in a grossly unaccommodating society. With his trademark absurd and caustic wit, Medina portrays Broke’s anger, fear, humility, and resolve with humor, insight and compassion, bringing moments of levity and hopefulness to Broke’s plight. Funny and perversely sharp, whimsical and impassioned, BROKE BAROQUE is compulsively readable and will connect with any book and poetry lover alike. With a powerful introduction by McArthur-winner Ishmael Reed.

In TARTESSOS AND OTHER CITIES, Claire Millikin uses poetry to express some of the emotions surrounded by homelessness and loss. Named for Tartessos, a lost city on the Guadalquivir, a river in Andalusia, Spain that was likely buried by a devastating tidal wave in BC, the poems in TARTESSSOS gather lost cities and places that were not myths, but were once real. Throughout the collection, Millikin examines American geographies of loss, with the poems serving as archeological elements that persist against these losses. From New York City to Muscogee Country, Georgia, from New Haven, to the Haw River, TARTESSOS charts a map of disappearances and resistances to vanishing that make up part of the ghostly American landscape. TARTESSOS AND OTHER CITIES leads readers to discover that home is not just the place where you happen to live, it is the place where you become yourself.