Forty years sober when he neared the end of his life, Jack McCarthy gives the world something special in his final collection of poetry and true stories. This is his legacy to the people who saved his life. Jack McCarthy's poem "Drunks” has gone around the world on recovery websites and is one of the most popular poems on the harsh climb out of alcoholism to date.

We Will be Shelter, edited by poet and activist Andrea Gibson, is an anthology of contemporary poems that addresses issues of social justice. Unique to this anthology is its focus on creating positive social change through gorgeous, gusty poetry. Alongside and embedded in featured poems are concrete ways to address social and political issues raised. The goal of We Will be Shelter is to raise awareness, encourage critical self-reflection, and call readers to action.

A beautiful exploration of grief by one of the top selling poets in America. Anis Mojgani's In the Pockets of Small Gods explores what we do with grief, long after the initial sadness has faded from our daily lives: how we learn to carry it without holding it, how our joy and our pain touch, and at times need one another. His latest collection of poetry touches on many kinds of sorrow, from the suicide of a best friend to a broken marriage to the current political climate. Mojgani swings between the surreal imagery and direct vulnerability he is known for, all while giving the poems a direct frankness, softening whatever the weight may be. A book of leaves and petals as opposed to a book of stones, In the Pockets of Small Gods encapsulates the human experience in a way that is both deeply personal and astoundingly universal.

Lino Anunciacion’s The Way We Move Through Water is layered and balanced with a dark beauty that readers will be haunted by long after putting this book down. This debut poetry collection is a faulty navigation system that guides you through the unforgiving griefwater. These poems use serene, yet haunting imagery to tackle the legacy of our pasts and the lineages we owe our lives to. He uses his experiences in loss and trauma as a black boy in America to show how long this journey towards liberation and livelihood can be. He doesn’t want you to forget the names of the things we’ve lost, the progress left to be made. Still, even though there is so much work to be done, Lino reminds us that the only way out is through. He respects his audience enough to know, that we already know how we hurt. Lino's poetry sees us and meets us where we are: proximal to the pain. He isn't crafting or crawling into the coffin– Lino is beside us, tossing his best flowers onto it. His poetry sees us in our Sunday best when we're at our worst, and reminds us that we are still alive. With poems highlighting the sea, fresh flowers, birds, and the nature around us, this collection is very much alive, and enjoying this life with you, not in front of you, but next to you.

Open Your Mouth Like A Bell is ultimately a book of love poems to poetry itself, or rather, to the gift of language and its powerful mercury. "Sincerity is the only currency I bring," writes Mindy Nettifee in her haunting poem "Election Eve," a piece composed in a state of not-knowing, just days before the 2016 U.S. election that delivered the presidency to Donald Trump. In this third full-length collection of poetry, Nettifee's powers are on the wax. The book follows a course of descent, tapping wells and constructing thresholds to underworlds. She's plumbing the dark unknown, in search of wild memory and buried trauma and the stories of the dead. She is seeking the roots of the personal, familial and cultural madness blossoming aboveground. Her studies of the unconscious mind, archetypal psychology and western mysticism are in conversation with punk chaos, feminist politics, and the evolution of kissing. The lineage of poems as spells is humming and cracking beneath the surface, asking questions about what it takes to imagine, create and enact change. Nettifee won't banish the mystery, but does not leave us in the dark. By the end of the book we are led up and full circle, reinitiated into the bright, light-filled, mundane world. Only everything has changed. Here, in the surreal real and the strange and sacred ordinary, we must use our own voices to emotionally echolocate, to sense new landscapes both inside and out. We must tell the stories it is impossible to tell. We must speak until we feel the ring of truth.

Lyrical and dark, Lauren Sanderson’s Some of the Children Were Listening begins with witness. With a voice uncommonly young and impossibly certain, these poems climb out of bed and sit on the stairs, eavesdropping on a world that wasn’t meant for them. In quick turns and tight threads comes the violence of nature, the nature of violence. Sanderson moves fluidly across the personal and the universal, venturing into a world beyond witness; where the trees fall when the girls scream and everyone’s daughter is a king.

This is an account of an ethnically and racially diverse classroom of funny, endearing, and often poignant six-year-olds in a Seattle inner-city elementary school. The author, their volunteer literary coach, describes the classroom, their heroic teacher, a number of clever teaching modules, and the evolution of this school toward excellence. The children’s confidences, essays, and poetry sparkle with humor, and the unexpected viewpoints of childhood. Eight captivating students are profiled and featured for us in line drawing illustrations. In the final chapters some startling school district data is introduced as well as three common-sense recommendations to give all kids a fair chance in school. Having learned so much about the realities of public elementary education in her five years in the classroom, the author wanted to share the good news of what is possible with others who might otherwise view this as a grim subject.

New York Times bestselling nonfiction writer and poet Cristin O’Keefe Aptowicz’s How to Love the Empty Air reaches new heights in her revelatory seventh collection of poetry. Continuing in her tradition of engaging autobiographical work, How to Love the Empty Air explores what happens when the impossible becomes real?for better and for worse. Aptowicz’s journey to find happiness and home in her ever-shifting world sees her struggling in cities throughout America. When her luck changes?in love and in life?she can’t help but “tell the sun / tell the fields / tell the huge Texas sky.... / tell myself again and again until I believe it.” However, the upward trajectory of this new life is rocked by the sudden death of the poet’s mother. In the year that follows, Aptowicz battles the silencing power of grief with intimate poems burnished by loss and a hard-won humor, capturing the dance that all newly grieving must do between everyday living and the desire “to elope with this grief, / who is not your enemy, / this grief who maybe now is your best friend. / This grief, who is your husband, / the thing you curl into every night, / falling asleep in its arms...” As in her award-winning The Year of No Mistakes, Aptowicz counts her losses and her blessings, knowing how despite it all, life “ripples boundless, like electricity, like joy / like... laughter, irresistible and bright, / an impossible thing to contain.”

Miles Walser unearths the concept of the binary in his long-awaited first poetry collection. While Walser's lionhearted deconstruction of gender tackles trans identity in a way no living poet has before, he also dismantles other alleged dichotomies such as loneliness and introversion, softness and rage, mathematics and art. He acknowledges the existence of all these 'opposites' and their place inside the author. Walser bares so much of his many-hued self that the reader can't help but turn inwards. The reader does not simply watch the author bloom in these poems but the open-minded reader is bound to bloom also.

A Constellation of Half-Lives is a collection of poems that attempt to reconcile the crisis of living on a collapsing planet with the unreasonable joy of loving and the pleasure of being alive. With careful precision and an exquisite eye for detail, poet Seema Reza examines what it means to be a mother, a daughter, and an American in a time of war. Through second-person poems she questions whether the beauty of this world outweighs its fragility and risk.