Malaria kills nearly one million people each year. Hundreds of millions more are sickened by the disease, and many of them are permanently disabled. Billions are spent each year to understand it. Researchers know the molecular details of the interaction between the mosquito and our own red blood cells, and the myriad ways in which malaria impacts the global economy and the advancement of humanity. But what of the public? Though its story is told in thousands of articles and in hundreds of books, many in the developed world are unaware of how prevalent malaria still is. Malaria, Poems testifies to the importance of bridging the chasm between science and art. It adds thread to a tattered and tragic global narrative; it is poetry’s attempt to reawaken care in a cold case that keeps killing. According to Cicero the aim of the orator is threefold: to teach, to delight, and to move. Poets during the renaissance embraced this idea, and Malaria, Poems reinvigorates it. Allen Ginsberg called for a poetry of social consciousness, a “bare knuckle warrior poetics.” Cameron Conaway, a former MMA fighter, offers Malaria, Poems both as a response to Ginsberg’s call and as a new call to contemporary poetry.

Charles Rafferty works in masks, voices, and personae. Winner of the fifth annual Arkansas Poetry Award, The Man on the Tower consists of dramatic monologues and fables about “the man” the many incarnations of our lives that are not allowed, cannot be lived, or are kept darkly hidden. Made believable in the lines of Rafferty’s poems, his characters show us their desires, complaints, and obsessions, often revealing what they would want to keep concealed, the shameful and the wild.

In this striking debut volume, Lucas Farrell offers a lyrical and illuminating field guide to the flora and fauna of "worlds just out of reach." With the precision and detail of an Audubon sketch, he turns his naturalist's eye to the vast landscape of human emotion—all the while affirming "how real this world we live in / must be to live in."

Journeying ever outward, from the achingly ordinary to the mysterious "land where there is no land," the narrator of this collection, equal parts pastoralist and surrealist, explores the vivid in-betweens—between love and loss, hilarity and despair, wild and domestic, real and imagined. Hungry, expressive, and original, these poems glean light from even the darkest of fields.From "Further Along Now"Further along the curves of gesture, the delicateapostrophe, in the tongues of muted suns, we'll findourselves in a clearing, in a meadow of ancient grass,picking apart what has long been picked apart. Furtheralong, the compliments, the tweezers and logic, thelaboratory of hard hats and felt pens and hard headsand clipboards hanging from sky's bloody fender, birddroppings steaming calligraphic so long as the cloudsbecome clouds become clouds and amazed we see insuch preventable warfare our own substancesunchanging. Fountains of ash too diffuse to interpret,too complex to diagnose, I quote the many woods ofgrief, too far alone, too deep.

The winning manuscript of the fourth annual Hollis Summers Poetry Prize is also the exciting American debut by a poet who has already established himself as an important international poetic voice. Midland, the seventh collection by Kwame Dawes, draws deeply on the poet’s travels and experiences in Africa, the Caribbean, England, and the American South. Marked equally by a lushness of imagery, an urgency of tone, and a muscular rhythm, Midland, in the words of the final judge, Eavan Boland, is “a powerful testament of the complexity, pain, and enrichment of inheritance…It is a compelling meditation on what is given and taken away in the acts of generation and influence. Of a father’s example and his oppression. There are different places throughout the book. They come willfully in and out of the poems: Jamaica. London. Africa. America. But all the places become one place in the central theme and undersong here: which is displacement…The achievement of this book is a beautifully crafted voice which follows the painful and vivid theme of homelessness in and out of the mysteries of loss and belonging.”

Midland is the work of a keen and transcendent intellect, a collection of poems that speaks to the landscape from inside, from an emotional and experiential place of risk and commitment.

Two of Wrigley's finest collections of poems are now together in one volume.

Angela Jackson returns with a poetic collage that draws on imagery from the African American South and the South Side of Chicago, storytelling, the Black Arts Movement, and Hausa folklore. Deftly intertwining narrative and free verse, she expresses the complexities, beauty, and haunts of the multilayered Black voice. Jackson offers a stirring mixture of the music, food, and soul that have come to characterize her lyrical work.
 
The speakers of these poems reflect on memory and saga, history and legend. Voices recall evenings spent catching fireflies with a younger sister, the aroma of homemade rolls, the father who squeezes papers into his wallet alongside bills in order to appear wealthy (“a flock of green birds rustling inside / to get out for some extravagance”). A Black girl watches TV and dreams of the perfect partner. A citizen contends with the unrelenting devastation of police violence in a work reminiscent of Gwendolyn Brooks’s “verse journalism.” A mother loses her daughter only to witness her rebirth: “Praise be / the human being / that is being.”
 
In “For Our People,” an homage to Margaret Walker, Jackson summons the resilience and imagination of African Americans, celebrating “each of us injured or exalted, betrayer or betrayed, muted / and declamatory, all one, each of us all of us, each a private star beloved in the universe.” Lauded as one of American poetry’s most vivid voices, Jackson continues her reign among the country’s foremost wordsmiths. This sublime collection delves deep into the porch stories and folktales that have carried the Black voice through all its histories.

A new perspective on a book that transformed Victorian illustration into a stand-alone art.

Edward Moxon’s 1857 edition of Alfred, Lord Tennyson’s Poems dramatically redefined the relationship between images and words in print. Cooke’s study, the first book to address the subject in over 120 years, presents a sweeping analysis of the illustrators and the complex and challenging ways in which they interpreted Tennyson’s poetry. This book considers the volume’s historical context, examining in detail the roles of publisher, engravers, and binding designer, as well as the material difficulties of printing its fine illustrations, which recreate the effects of painting. Arranged thematically and reproducing all the original images, the chapters present a detailed reappraisal of the original volume and the distinctive culture that produced it.

Finalist, 2017 Miller Williams Poetry Prize, edited by Billy Collins

“Forces an eye-opening change in perspective.”

—Billy Collins

In Mr. Stevens’ Secretary, a fictional assistant to Wallace Stevens juggles her roles as a mother, a wife, a believer, and a working woman. Privy at times to the famous poet’s personal life, the secretary must balance her curiosity about Stevens with her commitment to her husband, her faith, and the life she desires.

This vivid and compelling character struggles with fears of mental illness and the challenges of working for a prominent, reserved man, all while adjusting to new environs. She leaves her home, and her job, as she contemplates whether her marriage is worth saving and if she can reconcile the Baptist faith of her upbringing with the questions raised by her new place in the world. Throughout, we are witness to her complex relationship with the famous modernist poet, and with writing itself.

Lydia Huntley was born in 1791 in Norwich, CT, the only child of a poor Revolutionary war veteran. But her father’s employer, a wealthy widow, gave young Lydia the run of her library and later sent her for visits to Hartford, CT. After teaching at her own school for several years in Norwich, Lydia returned to Hartford to head a class of 15 girls from the best families. Among her students was Alice Cogswell, a deaf girl soon to be famous as a student of Thomas Hopkins Gallaudet and Laurent Clerc.

       Lydia’s inspiration came from a deep commitment to the education of girls and also for African American, American Indian, and deaf children. She left teaching to marry Charles Sigourney, then turned to writing to support her family, publishing 56 books, 2,000 magazine articles, and popular poetry. Lydia Sigourney never abandoned her passion for deaf education, remaining a supporter of Gallaudet’s school for the deaf until her death. Yet, her contributions to deaf education and her writing have been forgotten until now.

       All of Lydia Sigourney’s of Lydia Sigourney’s work on the nascent Deaf community is presented in this new volume. Her writing intertwines her mastery of the sentimentalism form popular in her day with her sharp insights on the best ways to educate deaf children. In the process, Mrs. Sigourney of Hartford reestablishes her rightful place in history.

In his third collection, My Father Says Grace, Donald Platt combines elegy with verse of larger historical allusion and reference. At the center of the book stand poems detailing a father’s stroke and slowly developing Alzheimer’s disease and how it affects one family. An extended meditation on a mother-in-law’s dying provides counterpoint to elegies for more public figures like Walt Whitman and Janis Joplin. The private life in “the valley of the shadow of death” often gets juxtaposed with explicitly political verse. One of these poems records the racially charged conversations in a small southern town’s Amazing Grace Beauty Salon. Another describes a Vietnam protestor, famously photographed while sticking flowers in an MP’s gun barrel, alongside images from his later life as a transvestite. The poems tend to find themselves in the midst of crisis, historical or personal. They yearn for “transport” and strive “to be ‘carried across,’ away, out, toward, back into / / some new country / where the soul improvises, croons scat to itself alone.”

This is the first modern edition of verse by Anne Killigrew, a poet and portrait painter born in 1660 at the very start of the Restoration, who grew up as part of the complicated political, religious, and artistic worlds of the Restoration courts of Charles II and his brother James, Duke of York. Killigrew never chose to print her verses, but instead participated in a literary circulation network including family, friends, and members of the court; her position in relation to court culture and her family’s involvement with the London commercial stage gave her a unique perspective into the issues confronting a young single woman in a period during which libertinism was the dominant ethos of the courtiers. This edition lightly modernizes the spelling and punctuation of the posthumous volume of her collected verse, provides notes identifying the classical and biblical allusions which shape her works, and provides a historical context for her literary and artistic career in the introduction.

"Verse is born free but everywhere in chains. It has been my project to rattle the chains." (from "The Revenge of the Poet-Critic")

In My Way, (in)famous language poet and critic Charles Bernstein deploys a wide variety of interlinked forms—speeches and poems, interviews and essays—to explore the place of poetry in American culture and in the university. Sometimes comic, sometimes dark, Bernstein's writing is irreverent but always relevant, "not structurally challenged, but structurally challenging."

Addressing many interrelated issues, Bernstein moves from the role of the public intellectual to the poetics of scholarly prose, from vernacular modernism to idiosyncratic postmodernism, from identity politics to the resurgence of the aesthetic, from cultural studies to poetry as a performance art, from the small press movement to the Web. Along the way he provides "close listening" to such poets as Charles Reznikoff, Laura Riding, Susan Howe, Ezra Pound, Allen Ginsberg, and Gertrude Stein, as well as a fresh perspective on L=A=N=G=U=A=G=E, the magazine he coedited that became a fulcrum for a new wave of North American writing.

In his passionate defense of an activist, innovative poetry, Bernstein never departs from the culturally engaged, linguistically complex, yet often very funny writing that has characterized his unique approach to poetry for over twenty years. Offering some of his most daring work yet—essays in poetic lines, prose with poetic motifs, interviews miming speech, speeches veering into song—Charles Bernstein's My Way illuminates the newest developments in contemporary poetry with its own contributions to them.

"The result of [Bernstein's] provocative groping is more stimulating than many books of either poetry or criticism have been in recent years."—Molly McQuade, Washington Post Book World

"This book, for all of its centrifugal activity, is a singular yet globally relevant perspective on the literary arts and their institutions, offered in good faith, yet cranky and poignant enough to not be easily ignored."—Publishers Weekly

"Bernstein has emerged as postmodern poetry's sous-chef of insouciance. My Way is another of his rich concoctions, fortified with intellect and seasoned with laughter."—Timothy Gray, American Literature