In this spellbinding debut, Los Angeles–born poet Janel Pineda sings of communal love and the diaspora and dreams for a liberated future. Lineage of Rain traces histories of Salvadoran migration and the US-sponsored civil war to reimagine trauma as a site for transformation and healing. With a scholar’s caliber, Pineda archives family memory, crafting a collection that centers intergenerational narratives through poems filled with a yearning to crystallize a new world—one unmarked by patriarchal violence. At their heart, many of these poems are an homage to women: love letters to mothers, sisters, and daughters. Lineage of Rain moves from los campos de El Salvador to the firework-laden streets of South Gate to the riverbanks of England. Pineda’s masterful stroke weaves together these seemingly disparate worlds, illustrating the complicated reality of living as a first-generation student. As the speaker navigates elitism and the violence of the English language, she lays bare their ties to power. And yet, these poems rebel through revel, asking: how do we hold each other tenderly in a world replete with pain and many forms of violence? With dreams made possible through collective struggle, Pineda returns us to the seeds from which we bloom: family, history, and community. All the while, this collection never fails to capture often overlooked moments of joy—the mundane yet monumental—showing the reader that the world we dream is already ours. Through Lineage of Rain, Pineda emerges as a seminal contributor to the canon of Central American diasporic writing.

Rain is elemental, mysterious, precious, destructive. It is the subject of countless poems and paintings; the top of the weather report; the source of the world's water. Yet this is the first book to tell the story of rain. Cynthia Barnett's Rain begins four billion years ago with the torrents that filled the oceans, and builds to the storms of climate change. It weaves together science—the true shape of a raindrop, the mysteries of frog and fish rains—with the human story of our ambition to control rain, from ancient rain dances to the 2,203 miles of levees that attempt to straitjacket the Mississippi River. It offers a glimpse of our "founding forecaster," Thomas Jefferson, who measured every drizzle long before modern meteorology. Two centuries later, rainy skies would help inspire Morrissey’s mopes and Kurt Cobain’s grunge. Rain is also a travelogue, taking readers to Scotland to tell the surprising story of the mackintosh raincoat, and to India, where villagers extract the scent of rain from the monsoon-drenched earth and turn it into perfume. Now, after thousands of years spent praying for rain or worshiping it; burning witches at the stake to stop rain or sacrificing small children to bring it; mocking rain with irrigated agriculture and cities built in floodplains; even trying to blast rain out of the sky with mortars meant for war, humanity has finally managed to change the rain. Only not in ways we intended. As climate change upends rainfall patterns and unleashes increasingly severe storms and drought, Barnett shows rain to be a unifying force in a fractured world. Too much and not nearly enough, rain is a conversation we share, and this is a book for everyone who has ever experienced it.

Jay Hopler's second collection, a mourning song for his father, is an elegy of uproar, a careening hymn to disaster and its aftermath. In lyric poems by turns droll and desolate, Hopler documents the struggle to live in the face of great loss, a task that sends him ranging through Florida's torrid subtropics, the mountains of the American West, the streets of Rome, and the Umbrian countryside. Vivid, dynamic, unrestrained: The Abridged History of Rainfall is a festival of glowing saints and fighting cocks, of firebombs and birdsong.

Niall Williams's internationally bestselling “delicate and graceful love story . . . a magical work of fiction” (NYTBR), now a major motion picture starring Pierce Brosnan, Helena Bonham Carter, and Gabriel Byrne. Nicholas Coughlan is twelve years old when his father, an Irish civil servant, announces that God has commanded him to become a painter. He abandons the family and a wife who is driven to despair. Years later, Nicholas's own civil-service career is disrupted by tragic news: his father has burned down the house, with all his paintings and himself in it. Isabel Gore is the daughter of a poet. She's a passionate girl, but her brother is the real prodigy, a musician. And yet this family, too, is struck by tragedy: a seizure leaves the boy mute and unable to play. Years later, Isabel will continue to somehow blame herself, casting off her own chances for happiness. And then, the day after Isabel's wedding to man she doesn't love, Nicholas arrives on her western isle, seeking his father's last surviving painting. Suddenly the winds of fortune begin to shift, sweeping both these souls up with them. Nicholas and Isabel, it seems, were always meant to meet. But it will take a series of chance events-and perhaps, a proper miracle-to convince both to follow their hearts to where they're meant to be.

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNEXT celebrates the embodied narratives of Latinidad. Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space. Like Hip-Hop, we honor what was, what is, and what's next.

A New York Times Best Seller 2019 National Book Award Longlist, Nonfiction 2019 Kirkus Book Prize Finalist, Nonfiction A February IndieNext Pick Named A Most Anticipated Book of 2019 by Buzzfeed, Nylon, The A. V. Club, CBC Books, and The Rumpus, and a Winter's Most Anticipated Book by Vanity Fair and The Week Starred Reviews: Kirkus and Booklist "Warm, immediate and intensely personal."—New York Times How does one pay homage to A Tribe Called Quest? The seminal rap group brought jazz into the genre, resurrecting timeless rhythms to create masterpieces such as The Low End Theory and Midnight Marauders. Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group’s history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself. Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast–West Coast rivalry that threatened to destroy the genre, and some record labels’ shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he’s remembering The Source magazine cover announcing the Tribe’s 1998 breakup or writing personal letters to the group after bandmate Phife Dawg’s death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that—like the low end, the bass—are not simply heard in the head, but felt in the chest.

Explores the strange effect our current sense of impending doom has on our relation to time, and asks what resistance to the tenor of these out-of-joint times might look like.