What is political poetry? How does history become lived experience? What does it mean to bear witness through writing? Noor Hindi’s poems explore colonialism, religion, patriarchy and everything in between with sharp wit and innovative precision. Layered to reflect the intersections of her identity, while constantly interrogating this identity itself, her writing combines lyrical beauty with political urgency. This collection is ultimately a provocation―on trauma, on art, on what it takes to change the world.

Arab womanhood, migration, queerness and Palestine are navigated with striking lyricism and urgency in Noor Hindi's defiant collection.

Quiet night, under the stars i lay,..wondering . . . . where are you now . . . . where are you babe . . . . we went our seperate ways . . . . i acted like i was ok . . . on the inside i was on my knees . . . begging heaven please . . . . begging heaven please . . . . i held back my tears . . . acted like i was ok . . . . i should have stopped you right there . . . . i should have told you how i feel . . . . i need you here . . . . my heart was crying even though my eyes never shed a tear

From the critically acclaimed author of HoodWitch, Faylita Hicks’s second collection explores the question, Where do our desires take us? An offspring of Audre Lorde’s seminal essay “Uses of the Erotic,” Hicks’s A Map of My Want follows a nonbinary femme as they explore the sensual intersection of the personal and the political, a crossroads to which their sexual liberation brought them after their escape from a religious cult. Lyrically, Hicks interprets the US Declaration of Independence's infamous “life, liberty, and the pursuit of happiness” for themselves. Combining storytelling with Western astrology, this poetry collection is an intimate erotic spell through which Hicks conjures joy as they develop an alternate theory on how to attain happiness—through ecstatic healing.

From one of the most imaginative and radical voices in contemporary poetry, a debut collection of fierce tenderness, political acuity, and powerful lyricism. Tarik Dobbs’s work explores surveillance, queerness, disability, race, and working-class identity in post-9/11 America. As an Arab American writer, Dobbs is achingly familiar with the power dynamics, violence, and capitalistic undercurrents woven through the language of the colonizer. They challenge this power in visual, free-verse, and formally intense poems—both traditional and innovative—that stretch the elasticity of borders, verbs, images, redactions, and more. Ranging from sonnets to concrete poems, Nazar Boy is visually stimulating, thought-provoking, emotionally wrenching, and exquisitely crafted. Dobbs’ poems blur and collapse narrative distances within and between places, from the Levant to Michigan, and break down dichotomies portrayed in Western media: between Arabness and whiteness, intellectualism and the working poor, Muslimness and queerness, disability and desire. By turns irreverent and serenely gentle, Dobbs calls us to speak, to dream, and to imagine beyond those distances so that we might speak, dream, and imagine better versions of ourselves, our relationships to each other, and our places in the world.

Diamond Sharp’s Super Sad Black Girl is a love letter to her hometown of Chicago, where her speaker finds solace and community with her literary idols in the hopes of answering the question: What does it look like when Black women are free? Lorraine Hansberry and Gwendolyn Brooks appear throughout, counseling the speaker as she navigates her own depression and exploratory questions about the “Other Side,” as do Sandra Bland, Rekia Boyd, and other Black women who have been murdered by police violence. Sharp’s poetry is self-assured, playful, and imaginative, reminiscent of Langston Hughes with its precision and brevity. The book explores purgatorial, in-between spaces that the speaker occupies, as she struggles to find a place, a time, where she can live safely and freely. With her skillful use of repetition, particularly with her series of concrete poems, lines and voices echo across the book so the reader, too, feels suspended within Sharp’s lyric moments. Super Sad Black Girl is a compassionate and ethereal depiction of mental illness from a promising and powerful poet.

A rigorous and defiant collection that subverts contemporary discourse and representations of incarceration, of hip-hop, and of Asian American culture and literature. Justin Rovillos Monson’s poetic voice is sharp and irreverent—improvisational yet thoughtful, musical, and tender, achieving a range of lyrical registers woven seamlessly throughout the book from the first to last poem. Monson’s work challenges his readers with uncomfortable but essential, urgent, and necessary questions: What does it mean to be in the world and yet live apart from it? What happens to the minds and bodies of those locked away? What happens to the minds and bodies of their loved ones? How can America get free? Braiding personal narrative with contemporary rap lyrics and institutional language, Monson deepens the nuances and dimensions of and within Asian American poetics, prison poetics, and hip-hop poetics with his deft and experimental writing style. American Inmate speaks through cages, bars, walls, and borders, collapsing widespread misconceptions and stereotypes regarding incarceration, and shrinking the distance between readers on the outside and the complex interiority of an incarcerated human being. Sometimes slipping, sometimes soaring, sometimes laughing, sometimes dying, Monson’s fiery debut is a fresh, moving, elucidative work that will challenge readers to think more critically about the systems that govern our lives, to imagine with compassion and inclusivity, and to settle for nothing less than a truly free future that is liberatory for all.