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This landmark collection represents the first English translation of poetry by Nguyen Quang Thieu, a significant Vietnamese writer of the post-1975 generation. Translated collaboratively by acclaimed poet Martha Collins and the author himself, this bilingual volume presents verses rooted deeply in Vietnamese cultural traditions that honor the dignity of daily labor, the resilience of ordinary people, and the spiritual dimensions of human experience in contemporary Vietnam.

Thieu's work draws upon a rich Vietnamese poetic tradition while addressing themes of displacement, reconstruction, memory, and the search for meaning in the aftermath of conflict. The poems capture the essence of Vietnamese life—its rhythms, relationships, and philosophical underpinnings—through images drawn from nature, labor, family, and community. The bilingual format stands as a bridge between Vietnamese and American literary traditions, and honors the linguistic and cultural dimensions of Thieu groundbreaking collection.

Eighty-one poems spanning the career of the late George Starbuck, widely praised luminary of modern American verse.

Starbuck was known in his lifetime and is remembered today as a practitioner of verse remarkable for its pathos, intelligence, and wit. A master of American vernacular, sensitive to the rhythms of everyday speech, Starbuck was also a brilliant lyricist, at once erudite and irreverent. He addressed some of the most profound issues of his day with a playful ingenuity and a virtuosity of talent that Glyn Maxwell, poetry editor of the New Republic, writing in The Oxford Companion to Twentieth Century Poetry, calls a “veritable arsenal of strategies against the darkness.”

Starbuck came to wide critical notice in 1960 with the publication of his first book, Bone Thoughts, which won the Yale Series of Younger Poets prize. He published work regularly in the New Yorker and other major literary journals in the United States. His work was consistently recognized with awards, among them the Prix de Rome, an Ingram-Merrill Fellowship, a Rockefeller Foundation Fellowship, the Beth Hokin Prize, a Notable Book of the Year designation from the New York Times, the Lenore Marshall poetry prize, and an Aiken-Taylor Lifetime Achievement Award.

Grouped together by decades, the poems reveal Starbuck's developing genius. His technical agility and his singular voice are evident. As Anthony Hecht declares in his foreword, "I come to this posthumous collection with serene and justified confidence in finding enormous pleasure, astonishment, admiration, and genuine satisfaction. [This book] is a generous sampling of a profound poetic legacy, one for which readers ought to be deeply grateful."

The World Is Round, Nikky Finney’s third volume of poetry, collects the wisps of memory we carry with us throughout our earthly lives and weaves them into deft and nuanced poems that emphasize understanding the cycles of life. The settings offer a view into the kaleidoscope of human experience: the sweetness and shock of family life, the omnipresent wash of memory, and the ebullience of warm Southern air. The World Is Round carries with it an implicit challenge—to the author as a poet, and to the reader as a fellow human—to see the characters and details and events of our lives with clarity, fearlessness, and love. The result is poems that range the gamut of human reach and resilience, fury and frailty. The poet’s vision of community requires understanding and tolerance from every breathing soul. Finney illuminates the cruelties of the sometimes gawking, narrow-minded world and makes a plea for compassion inspired by our common humanity.

In the aftermath of the Stand Your Ground killing of his close friend’s father, poet Cassells explores, in his most fearless book to date, the brutality, bigotry, and betrayal at the heart of current America. Taking his cue from the Civil Rights and Vietnam War era poets and songwriters who inspired him in his youth, Cassells presents The World That the Shooter Left Us, a frank, bulletin-fierce indictment of unraveling democracy in an embattled America, in a world still haunted by slavery, by Guernica, Hiroshima, and the Holocaust, by climate catastrophe, by countless battles, borders, and broken promises—adding new grit, fire, and luster to his forty-year career as a dedicated and vital American poet.

A selection of poems that form a narrative about psychological and spiritual somnambulance in our current age and the ever-urgent need to wake up.

In Them That Slept, Larissa Szporluk gathers three decades of work into a single incandescent arc—poems that braid feminist theology, eros, and myth into a lyric of fierce awakening. Borrowing its title from First Corinthians—“the firstfruits of them that slept”—this collection asks what it means to rise, not into certainty, but into desire, voice, and embodiment. Here, virgins become saints and saints become women of appetite. Daughters speak back to fathers. The sea mothers and devours. Joan of Arc lingers in her cell. Venus tweets. The body is never merely symbolic—it is radiant, wounded, knowing. Szporluk’s women are not passive figures in inherited narratives; they are theologians of touch, architects of longing, midwives of their own transformations. 

Across selections from six previous books and a powerful suite of new poems, Szporluk reimagines sacred language as intimate speech. Biblical cadences shimmer against domestic interiors, fields, bedrooms, and storm skies. Eros is not an ornament but a form of knowledge; faith is not obedience but risk. These are poems that refuse to sleep through history. They burn toward revelation— sensual, subversive, and alive.

One ghost, infinite echoes—where memory, myth, and identity collide.

There Is Only One Ghost in the World follows the fragmented meditations of a multilayered voice, an intimate witness to our times that delicately and bluntly reveals the best and the worst in all of us. It is a kaleidoscopic investigation into the loneliness of modern American life as well as family relationships, exploring the truths and lies that families tell one another, and why, with empathy, sorrow, and humility. We travel from the oil-slicked beaches of California and the alleys of New Orleans to the steps of the Capitol. Here: the raw nerves of gender and identity. Here: the lessons of heartbreak. Here: true myths, fake news, and old rumors. Here: the legacies of art and incisors of seasons. Incompletable Venn diagrams, sibling porn stars, addiction and climate change, shootings and stolen x-rays, the lyrics of disco and the taxonomy of slot machines, steel monoliths and 99-cent stores, last meals and unearthed mummies. There Is Only One Ghost in the World is a book about what happened just before you woke up, and what happened just after. And what happened next.
 

In Millie Tullis’s new poetry collection, These Saints are Stones, a faithless daughter is haunted by her third-great-grandmother, Martha, a woman who married her stepfather at sixteen and became a sister-wife to her own mother. Tullis cannot stop uncovering details about Martha, who left no written history behind, and her silence permeates this collection, which is rife with gaps and fragments, scraps of memory that blend with dreams. Sparse and spare, these poems echo the red desert landscape where the speaker’s ancestors lived and died, where she hunts for graves among the rocks and confronts a past she can never fully know. After all, like a sampling of lace, the cloth of women’s history is more hole than thread.

In These Words, liturgist Alden Solovy distills the Torah into its very essence: the individual words it contains. Echoing the midrash that the Torah has seventy faces, Solovy selects seventy of its Hebrew words that are pregnant with meaning. For each word, he delves into the etymology, translation, and usage, providing deeper insights into familiar texts. Then Solovy presents a beautiful poem—what he calls “poetic midrash”—inspired by and interpreting each word. From b’reishit (“in beginning”) to shamayim (“heavens”) to zachor (“remember”), These Words will change the way you look at the language of the Torah.

To live in an Alaska of the mind is to map the imagined cartography of winter on all that is physical. To dwell perpetually in a symbolic cold, and to emerge, with grace, unscathed. This book questions what it means to live and love in such a buried season. This Alaska interrogates all that emotional and physical intimacy cannot salvage or keep warm. Death and dreams are at the very center of this book. But life — and all it entails and circles and loses and loves — is at its heart.

This Grateful Heart offers an anthology of modern day psalms and prayers to lift us up, inspire our days, and mark our milestones. Written by Jewish poet and liturgist Alden Solovy, the collection provides nearly 100 readings, spanning topics from the simple delights of daily living to the complexities of grief; from the celebration of major turning points like bar and bat mitzvah to the more solemn commemoration of lost lives and ended relationships; and from the awe-filled moments of the High Holy Days to the observance of secular holidays. For clergy, this collection offers supplementary material for use in services and life cycle rituals; for the individual, this collection can serve as a way to give voice to the joys and sorrows of everyday life.