With the cadences of Martin Luther King Jr. and the lyricism of Langston Hughes, the great civil rights activist Pauli Murray’s sole book of poems finally returns to print. There has been explosive interest in the life of Pauli Murray, as reflected in a recent profile in The New Yorker, the publication of a definitive biography, and a new Yale University college in her name. Murray has been suddenly cited by leading historians as a woman who contributed far more to the civil rights movement than anyone knew, being arrested in 1940—fifteen years before Rosa Parks—for refusing to give up her seat on a Virginia bus. Celebrated by twenty-first-century readers as a civil rights activist on the level of King, Parks, and John Lewis, she is also being rediscovered as a gifted writer of memoir, sermons, and poems. Originally published in 1970 and long unavailable, Dark Testament and Other Poems attests to her fierce lyrical powers. At turns song, prayer, and lamentation, Murray’s poems speak to the brutal history of slavery and Jim Crow and the dream of racial justice and equality.

The God of the Old Testament can shock readers of the Bible: he drowns his creation in the flood, requires Abraham to sacrifice his son, destroys the first-born of the Egyptians the night before the exodus, and ruthlessly eliminates the Israelites who were devoted to the worship of the golden calf. Throughout the centuries, many Christians and philosophers have rejected all or part of the Old Testament because of these divine characteristics that violently contrast with the image of the good and kind God of the New Testament. So can we believe in a God who is macho, cruel, despotic, or who even indulges in ethnic cleansing? Thomas Römer puts forward a reinterpretation of these difficult passages in the light of the most recent research into the Old Testament. For the author, the characteristics that God appears to have, and that at first seem repulsive, are aimed at preserving the faith from dogmatic complacency by instilling in mankind the unexpected vision of a God who is engaged with the real life of humanity. This work is a widely revised and augmented reissue of the older version that was published in 1996. It includes a new chapter: Is God sanctimonious and are human beings sinners? Book jacket.

Honored as a "Best Book of 2014" by Library Journal NPR.org writes: “In his second collection, The New Testament, Brown treats disease and love and lust between men, with a gentle touch, returning again and again to the stories of the Bible, which confirm or dispute his vision of real life. 'Every last word is contagious,' he writes, awake to all the implications of that phrase. There is plenty of guilt—survivor’s guilt, sinner’s guilt—and ever-present death, but also the joy of survival and sin. And not everyone has the chutzpah to rewrite The Good Book.”—NPR.org "Erotic and grief-stricken, ministerial and playful, Brown offers his reader a journey unlike any other in contemporary poetry."—Rain Taxi "To read Jericho Brown's poems is to encounter devastating genius."—Claudia Rankine In the world of Jericho Brown's second book, disease runs through the body, violence runs through the neighborhood, memories run through the mind, trauma runs through generations. Almost eerily quiet in even the bluntest of poems, Brown gives us the ache of a throat that has yet to say the hardest thing—and the truth is coming on fast. Fairy Tale Say the shame I see inching like steam Along the streets will never seep Beneath the doors of this bedroom, And if it does, if we dare to breathe, Tell me that though the world ends us, Lover, it cannot end our love Of narrative. Don’t you have a story For me?—like the one you tell With fingers over my lips to keep me From sighing when—before the queen Is kidnapped—the prince bows To the enemy, handing over the horn Of his favorite unicorn like those men Brought, bought, and whipped until They accepted their masters’ names. Jericho Brown worked as the speechwriter for the mayor of New Orleans before earning his PhD in creative writing and literature from the University of Houston. His first book, PLEASE (New Issues), won the American Book Award. He currently teaches at Emory University and lives in Atlanta, Georgia.

In this extraordinary collection, the award-winning poet Crystal Simone Smith gives voice to the mournful dead, their lives unjustly lost to violence, and to the grieving chorus of protestors in today’s Black Lives Matter movement, in search of resilience and hope. With poems found within the text of George Saunders's Lincoln in the Bardo, Crystal Simone Smith embarks on an uncompromising exploration of collective mourning and crafts a masterwork that resonates far beyond the page. These poems are visually stark, a gathering of gripping verses that unmasks a dialogue of tragic truths—the stories of lives taken unjustly and too soon. Bold and deeply affecting, Dark Testament is a remarkable reckoning with our present moment, a call to action, and a plea for a more just future. Along with the poems, Dark Testament includes a stirring introduction by the author that speaks to the content of the poetry, a Q&A with George Saunders, and a full-color photo-insert that commemorates victims of unlawful killings with photographs of memorials that have been created in their honor. "I love this tremendously skillful, timely, and dazzling repurposing of passages of my novel, Lincoln in the Bardo. Crystal Simone Smith has, with her amazing ear and heart, found, in that earlier grief, a beautiful echo for our time." —George Saunders, New York Times bestselling author of Lincoln in the Bardo and Tenth of December "Written in response to the murder of George Floyd...this touching memorial to the Black lives lost to systemic racism is a rousing homage to those protesting in their honor, who refuse to let these deaths be in vain." - Publisher's Weekly