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A lyrical journey through memory, place, and resilience in the heart of Alabama

A Psalm for Cottondale is a lyrical meditation on memory, place, and survival in the American South. Through a sequence of interconnected free-verse poems, Sharony Green reflects on life in Cottondale, Alabama, where change unfolds in ways that can be both poignant and unexpected. Rooted in the histories, landscapes, and cultural currents of an Alabama college town, the collection explores how one place can evoke the memory of many others, inviting readers to consider broader questions of identity, belonging, and endurance.

Written in a clear, steady voice, these poems balance intimacy with historical awareness, allowing inherited stories, silences, and everyday moments to emerge with quiet power. Green’s careful craftsmanship and emotional restraint lend authority to the collection, while a subtle psalmic undercurrent adds spiritual depth without sacrificing nuance. As the poems move through themes of joy, grief, witness, and renewal, Cottondale becomes both a physical community and a symbolic terrain shaped by race, land, memory, and hope.

Inspired by writings that engage history, geography, and culture, A Psalm for Cottondale offers an elegant and deeply attentive reflection on Southern and American life, illuminating the ways people endure, adapt, and find meaning in a changing world. Ideal for readers of contemporary poetry, Southern literature, African American studies, place-based writing, and works that explore history, memory, faith, and community through a lyrical lens.
 

The literary journals of a key figure in both the Beat and San Francisco Renaissance movements of the New American Poetry, and an ordained Zen Buddhist priest

Philip Whalen (1923–2002) authored twenty collections of verse, more than twenty broadsides, two novels, a huge assemblage of autobiographical literary journals, nine or ten experimental prose works, and dozens of critical essays, lectures, commentaries, introductions, prefaces, and interviews. But he came to regard his literary journals as his most important prose legacy.

Whalen’s literary work represents a significant turn in American letters, as he and his closest colleagues immersed themselves in East Asian literature and religion, reinvigorating strikingly new linguistic and aesthetic paths for North American writers and artists. However, until now Whalen’s forty-plus years of journals—sixty small eight-by-six-inch notebooks—have been largely inaccessible, archived in the rare book and manuscript library at the University of California, Berkeley, undigitized and unavailable online. Thus, the publication of a critical scholarly edition of Whalen’s journals and notebooks constitutes an important literary event and an invaluable resource for scholars, teachers, poets, and lay readers who follow twentieth-century North American poetry.
 

The first and only single-volume collection of Larry Eigner’s most significant poems, gathering in one place the most celebrated of the several thousand poems that constitute his remarkable life’s work

Larry Eigner began writing poetry at age eight and was first published at age nine. Revered by poets and artists across a broad spectrum of generations and schools, Eigner’s remarkably moving poetry was created through enormous effort: because of severe physical disabilities, he produced his texts by typing with only one index finger and thumb on a 1940 Royal manual typewriter, creating a body of work that is unparalleled in its originality.

Calligraphy Typewriters showcases the most celebrated of Eigner's several thousand poems, which are an important part of the Black Mountain/Projectivist movement that began in the 1950s and which remain a primary inspiration for many younger writers, including those in the Language movement that began in the 1970s. In its two sections—Swampscott and Berkeley, named for the two locales where Eigner lived and worked—the volume traces his fantastic perception of the ordinary and his zeal for language. Eigner’s use of visual space, metaphor, and description provide fascinating insights into both his own life and the world that surrounded him. This volume maintains the distinctive visual spacing of his original typescripts, reminders of his method, aesthetic sensibility, and creative ability to compose on the typewriter.

A collection that reimagines the ordinary, Calligraphy Typewriters is the definitive selection of Eigner’s poems, and will serve well not only poets and students of poetry, but readers and writers of every vein.

Dead Weight chronicles the improbable turnaround of a drug smuggler who, after being sentenced to eight years in state prison, returned to society to earn a PhD in creative writing and become the only tenured professor in the United States with seven felony convictions. Horton’s visceral essays highlight the difficulties of trying to change one’s life for the better, how the weight of felony convictions never dissipates.
 
The memoir begins with a conversation between Horton and Ralph Ellison’s Invisible Man statue in New York City. Their imagined dialogue examines the psychological impact of racism on Black men and boys, including Horton’s separation from his mother, immediately after his birth, in a segregated Alabama hospital. From his current life as a professor and prison reformer, Horton looks back on his experiences as a drug smuggler and trafficker during the 1980s–1990s as well as the many obstacles he faced after his release. He also examines the lasting impact of his drug activity on those around him, reflecting on the allure of economic freedom and the mental escapism that cocaine provided, an allure so strong that both sellers and users were willing to risk prison. Horton shares historical context and vivid details about people caught in the war on drugs who became unsuspecting protagonists in somebody else’s melodrama.
 
Lyrical and gripping, Dead Weight reveals the lifelong effects of one man’s incarceration on his psyche, his memories, and his daily experience of American society.
 

Cornelius Eady turns the inaugural poem into an instrument of reckoning.

First delivered to mark the historic inauguration of New York City’s mayor Zohran Mamdani on January 1, 2026, the title poem is not ceremony—it is summons. “You have to imagine it,” Eady insists, and from that insistence rises a chorus: those called too dark, too queer, too poor, too loud; those renamed invisible; those told “not now.” What if joy could wear down the rock of no? What if imagination were not escape, but evidence?

Moving from Robert Frost squinting into winter glare, to Elizabeth Alexander straightening her back before history, to Aretha Franklin beneath her church-crown hat, Eady braids civic pageantry with private memory. He summons the Colored Conventions of 1830, the 911 call that ricocheted through racial panic, the mock rifles on a Brooklyn rooftop, the “knife in sheep’s clothes.” Each poem widens the frame. Each poem refuses to look away.

Tilt / Beautiful People brings to life two innovative poetry books integrated into one. 

In Tilt, Denise Duhamel and Maureen Seaton (1947-2023) write through climate change, Maureen’s illness, and the pandemic with their signature wit and poignancy. Their feminist curiosity leads them to poems about gender identity, marriage equality, and the complexities of national politics. Assembled shortly before Maureen’s death, the poems in Tilt tell the story of a friendship rooted in collaborative artistic play. The title of the book gives a nod to the earth’s tilt, which gives us seasons, but also hints that the poems were written at full tilt, these poets hyperaware they only had so much time left to write with one another.

Beautiful People was written back and forth over the course of several months by poets Maureen Seaton and Aaron Smith. Bold and inventive, it moves from sonnets and sestinas to prose poems and so much more. While its center is a love for poetry and art and laughter, the poets also grapple with mortality, sadness, and what it means to be alive on a broken but beautiful planet. Through their literary friendship, they put a mirror to all our lovely faces.

Honorable Mention, Alanna Bondar Prize, 2026, Association for Literature, Environment, and Culture in Canada (ALECC)

Part nature guide, part self-help column, and all love letter to the more-than-human world, Utter, Earth is an exercise in wonder. For animal lovers and readers of Brian Doyle, Aimee Nezhukumatathil, and Amy Leach.
 
A light, literary take on an animal book for grown-ups, a tongue-in-cheek self-help column with lessons drawn from nature, a sort of hitchhiker’s guide to the more-than-human world—Isaac Yuen’s Utter, Earth is a celebration, through wordplay and earthplay, of our planet’s riotous wonders.
 
In a time of dirges and elegies for the natural world, Utter, Earth features odes to sloths, tributes to trilobites, and ringing endorsements for lichen. For animal lovers and readers of Brian Doyle, Aimee Nezhukumatathil, and Amy Leach, each essay of this one-of-a-kind collection combines joyous language, whimsical tangents, and scientific findings to remind us of and reconnect us with those to whom we are inextricably bound. Highlighting life that once was, still is, and all that we stand to lose, this living and lively mini encyclopedia (complete with glossary) shines the spotlight on the motley, fantastical, and astonishing denizens with whom we share this planet.