Racing Hummingbirds examines, critiques, and at times delights in one woman's navigation through the many worlds of manic depression and her struggle to maintain humanity in the process. Jeanann Verlee's award-winning debut collection is a series of narratives, prayers, and conjurings which address gender, sex, race, poverty, heartbreak, and survival with such stark intimacy, you will find yourself living inside. These poems cannot possibly be about you, yet they are. They cross boundaries and reclaim hope. They are as the opening poem suggests, nothing short of communion. Fierce and formidable, Jeanann Verlee is poised to make an indelible mark – much like a razor slashing silk – on what's become a comfortably placid poetic landscape. Her unflinching and uncompromising stanzas will change the way you move through the world. -Patricia Smith, “Blood Dazzler” Any storyteller can recount powerful experience [she] makes you feel something powerful is happening in the telling. It is when safety dissolves that we discover possibility...It’s a special person that will make you wish they were your villain. -Brian S. Ellis, “Uncontrolled Experiments in Freedom" ...a roller coaster of imagistic magic. Form, language, allusion, and voice interact, collide, shape-shift, and duel...throughout an utterly arresting mosaic. -Danse Macabre Magazine

In her electrifying debut, Franny Choi leads readers through the complex landscapes of absence, memory, and identity. Beginning in loss and ending in reflective elation, Floating, Brilliant, Gone explores life as a brief impossibility, “infinite / until it isn’t.” Punctuated with haunting illustrations by Jess X. Chen, Choi’s poems read like lucid dreams that jolt awake at the most unexpected moments.

Aaron Samuels, raised in Providence, Rhode Island by a Jewish mother and a Black father, is a Cave Canem Fellow and a nationally acclaimed performer. In this ground-breaking collection of poems, Samuels examines the beauty and contradictions of his own mixed identity with gut-wrenching narratives, humor, and passionate verve.

In his debut poetry collection, Love in a Time of Robot Apocalypse, David Perez takes snapshots of a world under collapse to show us the parts worth saving. His images activate a new way of seeing. The mundane is no longer insignificant- the nightmare no longer insufferable. Animated and imaginative, the poems salvage memories from the wreckage of the Challenger disaster, drink shots with the poltergeist haunting the local dive bar, and resurrect the wisdom in the harsh words of departed lovers. At times, Perez is terse and pragmatic. Love in a Time of Robot Apocalypse beckons us into dark corners in ways that let our eyes adjust, revealing a splendor we would have otherwise surely missed.

In her third collection of poetry, Cristin O'Keefe Aptowicz celebrates the ups and downs of being a poet with a day job. Whether exulting the mundaneness of office life ("Rules of Slack"), musing about hidden perks of college poetry gigs ("Ode to College Cafeterias") or hilariously defending the use of humor in poetry ("To the Guy Who Said that Funny Poetry Ain't Poetry"), this book continues Aptowicz's tradition of witty, honest and idiosyncratic work. Cristin O’Keefe Aptowicz's poems about her working class roots are so entertaining, so poignant, so perfectly incisive, that I almost wish I didn't have a trust fund! - Taylor Mali, The Last Time As We Are ...Cristin's voice is authentically hers. Cristin is better than any robot that vacuums your floor, better than any natural or artificial sweetener. She is better than most tables, which tend to wobble after a while. -John S. Hall, author/musician King Missile

Megan Falley’s much-anticipated fourth collection of poetry shocks you with its honesty: whether through exacting wit or lush lyrical imagery. It is clear that the author is madly in love, not only with her partner for whom she writes both idiosyncratic and sultry poems for, but in love with language, in love with queerness, in love with the therapeutic process of bankrupting the politics of shame. These poems tackle gun violence, toxic masculinity, LGBTQ* struggles, suicidality, and the oppression of women’s bodies, while maintaining a vivid wildness that the tongue aches to speak aloud. Known best for breathtaking last lines and truths that will bowl you over, Drive Here and Devastate Me will “relinquish you from the possibility of meeting who you could have been, and regretting who you became.”

The Heart of a Comet is a collection of poems and short stories offering the tale of Comet, who fell from the sky unto an unfamiliar plane of existence. On his quest to return home, he has many life-altering encounters with people and places that completely change his perspective of what it means to love and to live. Through this series of truths, the lines between dreams and reality so often blur, this creates a new mosaic to an ultimate revelation: the internal lesson of the true meaning of purpose. What are we here for? Why do we experience the things that we do, and why do we react to them in the ways that we do? All questions posed with seemingly infinite answers. In this conceptual miscellany, author Pages Matam touches on topics of immigrant experience to fatherhood and love in all of its beautiful but also often tragic and traumatic faces. As the tale unfolds, we become swallowed by a self reflective journey with a destination that could only be sought from one's own soul searching heart...the Heart of a Comet.

Jon Sands has traveled into a ridiculous world, where nothing is too hilarious to not be honest, and nothing is too honest to not get you pregnant. Best of all, he’s packed us in his suitcase. He represents an ever-changing population of those raised elsewhere who find themselves beckoned by the history, mystique, and magic-makers of New York City. These poems inhabit their own contradictions, and exquisitely navigate the many complicated sides of what it means to be alive. Jon Sands is a high-stakes, honest poet of wild range. Sands possesses the remarkable ability to celebrate just as deeply as he mourns & whichever city he moves through in his poems ... one can be certain that there will be some singing. That's just what these poems do. - Aracelis Girmay, author Sands scours buses in Queens, faceless bullets, and a city full of “back talk” to find a place where we can all “fall madly in Jon,” and we do. Always fresh, The New Clean is a poetics of triumph - Michael Cirelli, Executive Director of Urban Word-NYC

More than 800 years after its invention in medieval France, the sestina survives and thrives in English. A fixed 39-line poetic form with of six stanzas of six lines each, followed by a three- line stanza known as an envoi, tornada, or tercet, the sestina is the one form of poetry that poets from all camps agree can exist in a free verse world. Formalists and avant-gardes love sestinas for their ornate, maddeningly complicated rules of word repetition. For The Incredible Sestinas Anthology, editor Daniel Nester has gathered more than 100 writers—from John Ashbery to David Lehman to Matt Madden and Patricia Smith—to show the sestina in its many incarnations: prose and comic sestinas, collaborative and double sestinas, from masters of the form to brilliant one-off attempts, all to show its evolution and the possibilities of this dynamic form.

Nicole Homer's first full-length poetry collection, Pecking Order, is an unflinching look at how race and gender politics play out in the domestic sphere. Homer challenges the notion of family by forcing the reader to examine how race, race performance, and colorism impact motherhood immediately and from generation to generation. In a world where race and color often determine treatment, the home should be sanctuary, but often is not. Homer's poems question the construction of racial identity and how familial love can both challenge and bolster that construction. Her poems range from the intimate details of motherhood to the universal experiences of parenting; the dynamics of multiracial families to parenting black children; and the ingrained social hierarchy which places the black mother at the bottom. Homer forces us to reckon with the truth that no one–not even the mother–is unbiased.