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Afrofuturist poetry that envisions Black people finding new worlds of freedom.
  
Following the traditions of Eve L. Ewing, Rio Cortez, and Douglas Kearney, jason b. crawford’s YEET! envisions the Black community lifted off the earth and set free towards the stars. These poems ask what a free Black people would look like and how we might achieve such a thing. This collection presents a new take on Afrofuturism and utopianism. Rather than looking to a future of technological change, it steps years ahead to show how people are happier once they are no longer owned. These poems speak to racism, gun violence, colonization, global warming, flight, joy, friendship, and noise. This is a book about creating new worlds without the systems of supremacy that held down the old one.
 
YEET! is the winner of the 2023 Omnidawn 1st/2nd Poetry Book Contest, chosen by Sawako Nakasayu.
 

Poems in a range of forms that consider the queer body, chronic illness, and love amid rural plains landscapes.
 
Set against a rural plains landscape of gas stations, wind, and roadkill bones littering the highways, You Bury the Birds in My Pelvis is a love letter to the nonbinary body as a site of both queer platonic intimacy and chronic illness. Looking at art and friendship, Kelly Weber’s poems imagine alternatives to x-rays, pathologizing medical settings, and other forms of harm. Considering the meeting place of radiological light and sunlit meadows, the asexual speaker’s body, and fox skeletons, these poems imagine possible forms of love. With the body caught in medical crisis and ecological catastrophe, Weber questions how to create a poetry fashioned both despite and out of endings.
 
You Bury the Birds in My Pelvis explores forms with plainspoken prose poems with a mix of short poems and longer lyric sections that navigate insurance systems and complicated rural relationships to queerness.

You Bury the Birds in My Pelvis is the winner of the 2022 Omnidawn 1st/2nd Poetry Book Contest, chosen by Mary Jo Bang.
 

An insider’s account of gay high society in pre-Stonewall New York City—now back in print!

Young, intelligent, and handsome, Alan Helms left a brutal midwestern childhood for New York City in 1955. Denied a Rhodes scholarship because of his sexual orientation, he soon became an object of desire in a gay underground scene frequented by, among many others, Noel Coward, Leonard Bernstein, and Marlene Dietrich. In this unusually vivid and sensitive account, Helms describes the business of being a sex object and its psychological and physical toll.