A quick-witted busker on the idyllic beaches of Ivory Coast. A Black actor in Nazi Germany struggling to make ends meet. An Afro-Caribbean seamstress who designs for the dead. The one thing they have in common? Art. ART ON THE BORDER is a short story collection that spans time and continents, mapping out miscellaneous manifestations and understandings of art. It centers on a cast of diverse, multicultural characters and explores the great nuances of art through the lens of marginalized identities.

In a Country draped in darkness and governed by an unyielding regime, one of its citizens is visited by an unlikely guest. She is given a chance to escape. There is one big obstacle in her way, though - a huge wall of barbed wire known only as "the Border". The journey she embarks upon unravels truths about her past, and the nature of the Country itself. Will she make it to the other side? Or be caught by cruel guards and perish? This is a story of defiance, will and perseverance.

Voted a Best Poetry Book of the Year by Library Journal Included in Publishers Weekly's Top 10 Poetry Books of the Year One of LitHub's most Anticipated Books of the Year! A State of the Union from the nation’s first Latino Poet Laureate. Trenchant, compassionate, and filled with hope. "Many poets since the 1960s have dreamed of a new hybrid art, part oral, part written, part English, part something else: an art grounded in ethnic identity, fueled by collective pride, yet irreducibly individual too. Many poets have tried to create such an art: Herrera is one of the first to succeed."—New York Times "Herrera has the unusual capacity to write convincing political poems that are as personally felt as poems can be."—NPR "Juan Felipe Herrera's magnificent new poems in Every Day We Get More Illegal testify to the deepest parts of the American dream—the streets and parking lots, the stores and restaurants and futures that belong to all—from the times when hope was bright, more like an intimate song than any anthem stirring the blood."—Naomi Shihab Nye, The New York Times Magazine "From Basho to Mandela, Every Day We Get More Illegal takes us on an international tour for a lesson in the history of resistance from a poet who declares, 'I had to learn . . . to take care of myself . . . the courage to listen to my self.' You hold in your hands evidence of who we really are."—Jericho Brown, author of The Tradition "These poems talk directly to America, to migrant people, and to working people. Herrera has created a chorus to remind us we are alive and beautiful and powerful."—José Olivarez, Author of Citizen Illegal "The poet comes to his country with a book of songs, and asks: America, are you listening? We better listen. There is wisdom in this book, there is a choral voice that teaches us 'to gain, pebble by pebble, seashell by seashell, the courage.' The courage to find more grace, to find flames."—Ilya Kaminsky, author of Deaf Republic In this collection of poems, written during and immediately after two years on the road as United States Poet Laureate, Juan Felipe Herrera reports back on his travels through contemporary America. Poems written in the heat of witness, and later, in quiet moments of reflection, coalesce into an urgent, trenchant, and yet hope-filled portrait. The struggle and pain of those pushed to the edges, the shootings and assaults and injustices of our streets, the lethal border game that separates and divides, and then: a shift of register, a leap for peace and a view onto the possibility of unity. Every Day We Get More Illegal is a jolt to the conscience—filled with the multiple powers of the many voices and many textures of every day in America. "Former Poet Laureate Juan Felipe Herrera should also be Laureate of our Millennium—a messenger who nimbly traverses the transcendental liminalities of the United States . . ."—Carmen Gimenez Smith, author of Be Recorder

How could you make up a story about war. About brutality of the human kind. About experiences that are burned into my brain. How could you make up loss and losing of hope. I would love to make up stories about a happy world but for this there is no time. Reality is in the center of my writing and this journal will be about the ugly but in-between about moments that are beautiful. We try to see the beauty in every bad situation and may be even capable as human beings to write our story happily even in times of war.

Meet the adorable orphan lamb Sweet Pea and discover why her true story has become a picture book phenomenon and enchanted readers of all ages! One cold winter night, Sweet Pea the orphan lamb becomes very sick. Everyone in the farmyard is worried about her! Under the watchful care of Farmer John, Laddie the sheepdog, and Dr. Alison the mobile veterinarian, she slowly recovers. Dr. Alison tells Sweet Pea she can have a sleepover to celebrate as soon as she is well again. When the day finally comes, her closest friends Sunny, Prem, and Violet join her in the greenhouse for a fun and imaginative "SheepOver" celebration. This charming story of caring and friendship by farm owners John and Jennifer Churchman, brought to life with John's entrancing photo-illustrations, will enchant readers young and old. In the words of one of her many fans, "Sweet Pea brings a calming, authentic joy to my life that makes me laugh, cry and gives me hope that all is well in the world. . . . Everyone needs a little Sweet Pea in their lives!"

"Roots, Goods and Gods" is a collection of poetry and prose about the human experience. This book deals with themes ranging from personal struggels and collective feelings, to deities and creation stories.

The English-language debut of one of the most thrilling and accomplished young Mexican writers Winner of the Queen Sofía Spanish Institute's Tanslation Prize Longlisted for the National Book Award Shortlisted for the Booker Prize Winner of the Internationaler Literaturpreis New York Public Library Best Books of 2020 Chicago Public Library Best Book of 2020 The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters—inners whom most people would write off as irredeemable—forming a lasting portrait of a damned Mexican village. Like Roberto Bolano’s 2666 or Faulkner’s novels, Hurricane Season takes place in a world saturated with mythology and violence—real violence, the kind that seeps into the soil, poisoning everything around: it’s a world that becomes more and more terrifying the deeper you explore it.