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A translated collection from one of the defining poetic voices in Cuban and Mexican literature. 

Old Music Island is a sensuous, dreamlike poetry collection by Odette Alonso, a leading voice in contemporary Cuban and Mexican literature. Born in Santiago de Cuba and living in Mexico since 1992, Alonso is an award-winning poet whose work transforms exile, desire, and memory into sites of lyrical and emotional intensity.

These poems move to the rhythm of nostalgia and smoke. The collection begins with a dream of light and song. The intimate encounter, always an island, is surrounded by the sea experience, and an exchange of glances is but a threshold into the vast expanse. Then comes fear, the fuss of hands, brackish tongue, a conflagration. Only those daring to enter will learn the patterns of the tide and the arrhythmia of the heart. The collection is a somatic encounter of tastes, touch, comings and goings, surprise, and seduction.

Translated by Liz Rose, whose work bridges lyric practice, trans theory, and feminist thought, Old Music Island offers an English-language rendering that honors the book’s lush musicality and charged physical presence. This is poetry of fleeting contact and lasting imprint—an invitation to listen closely, and to cross the threshold.

Dismantled and scattered just before his death, Jaime de Angulo’s poetic masterpiece Old Time Stories is now reconstituted for the first time in this edition.

Jaime de Angulo’s Old Time Stories, a visual prose-poem drawing on his anthropological research among Indigenous communities in California, is a forgotten modernist treasure. Completed shortly before de Angulo’s death, the work has survived only in fragments, divided between an abridged 1953 publication and a limited edition from the 1970s. This new reconstituted edition gives contemporary readers—whether interested in experimental literature, linguistics, cultural anthropology, or Native American history—their first chance to engage with the complete work.

Structured around children’s stories inspired by the Indigenous tales and legends de Angulo encountered directly during his studies, Old Time Stories uses illustrations, different typefaces, and other experimental formatting techniques to translate rich oral and pictographic traditions into the condensed form of print. Beyond its significance as an innovative work of American literary modernism, it interrogates the colonialist foundations of Western modernity through this very reworking of Western literary conventions.

A forgotten classic of African American life, identity, and resilience in rural Alabama.

Ollie Miss by George Wylie Henderson is a landmark work of African American fiction that offers a vivid portrayal of rural Black life in Alabama during the early twentieth century. Set in the backwoods communities of Macon County, Alabama, the novel follows the journey of Ollie Miss, a young woman determined to find purpose, independence, and personal fulfillment in a world shaped by poverty, isolation, and limited opportunities. Through her struggles and aspirations, Henderson creates a compelling portrait of individual resilience and self-discovery.

More than a personal story, Ollie Miss serves as an important social document, preserving the customs, relationships, and daily realities of a Black Southern community before the transformative changes brought about by the Civil Rights Movement. Henderson's richly detailed narrative captures the rhythms of rural life, the bonds of community, and the challenges faced by African Americans in the segregated South. At the same time, the novel explores universal themes of loneliness, belonging, love, and the search for dignity.

Originally published in 1935 during the era of the Harlem Renaissance, Ollie Miss stands today as a rediscovered classic that broadens our understanding of African American literary history. Both a moving coming-of-age story and an invaluable cultural record, the novel remains essential reading for anyone interested in Southern literature, Black history, women's experiences, and the rich diversity of American fiction.

Jonathan Moody grew up during the Golden Ages of hip-hop and listened to rap that was as adventurous and diverse as his military upbringing. When rap’s Golden Ages expired, the music’s innovativeness and variety diminished. Moody’s second book, Olympic Butter Gold, winner of the 2014 Cave Canem Northwestern University Press Poetry Prize, responds to Chuck D’s claim that "if there was a HIP-HOP or Rap Olympics, I really don’t think the United States would get Gold, Silver or Brass." From the poem "Opening Ceremony," in the voice of a heroin addict struggling to use Lady Liberty’s torch to cook "The American Dream," to "Dear 2Pac," an autobiographical account of teaching Tupac Shakur’s poetry to engage high school students indifferent to literature, Moody shares a worldview that is simultaneously apocalyptic and promising.

An innovative exploration of early twentieth-century avant-garde poetry’s relationship to the public sphere

“It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there,” as the poet William Carlos Williams memorably declared. In Omnicompetent Modernists: Poetry, Politics, and the Public Sphere, Matthew Hofer examines, through a multilayered literary critique of interwar modernist poetry, what it might mean to get the news, and more, from a poet.

Using pragmatist ideas about the public sphere as a tool, Hofer reveals how Langston Hughes, Ezra Pound, and Mina Loy sought to use literature to both express and enable thought. In Hughes, Pound, and Loy, Hofer attends to poets whose work vigorously imagined possible new relationships between language, thinking, and public society. Each poet had different goals and used different methods, but all found both inspiration and encouragement in popular political theory. Hughes advocated for a more just vision of color and class in the United States. Pound sought to condemn those whom he associated with public harm, linguistically, socially, economically, and politically. Loy championed the “psycho-democratic” representation of women, in both public and private life.

Although Hughes, Pound, and Loy are rarely considered together, what unites these three writers is how each reconceived the public realm, and revolutionized aesthetic form to articulate those visions. Hofer combines sharp intellectual historiography with rigorous literary criticism and the result is a study that reinvigorates both the poems and poets under consideration and speaks to the immense power of language in manipulating public opinion—with pertinent implications for the politics of the present.