Autobiographical poetry from one of Kentucky’s rising Affrilachian literary stars. Bernard Clay’s autobiographical poetry debut, English Lit, juxtaposes the roots of Black male identity against an urban and rural Kentucky landscape. Hailed as one of the most authentic voices of his generation, Clay artfully renders coming-of-age in the predominately Black West End of Louisville, Kentucky. Balancing the spirited grit of a farmer and the careful lyricism of a poet, English Lit is a triumph of new Affrilachian—African American and Appalachian—literature.

These poems run the gamut between human striving and suffering, ultimately imbued with a tenacious hope

A biography of Dave the Potter, an enslaved man and talented potter who carved poetry on his pottery.

An aching meditation on the cyclical nature of grief and memory’s limited capacity to preserve everything time takes from us. How does one make sense of loss—personal and collective? When language and memory are at capacity, where do we turn? Confronted with “a year meant to end all / those to come,” acclaimed poet Adam Clay questions whether anything is “wide enough to contain what’s left / of hope.” In the absence of a clear way forward, the poems of Circle Back wander grief’s strange and winding path. Along the way, the line between reality and dreams blurs: cows stare with otherworldly eyes, 78s play under cactus needles, a father becomes his own child, and the dead become something more complicated—a “sketch turned to painting / left in a room dusty from / lack of passing through.” But amidst these liminal landscapes, a “thread of promise” persists in poetry. As flawed as language is, we still turn to it for longevity, for love, like “Keats, / sketching himself back into place.” Vulnerable and nuanced, Clay details the difficult work of healing—and in doing so, captures those needful moments of reprieve in grief’s “strange circle.” Two friends dashing through a sprinkler. A garden of startled birds. Out for a run some gray morning: a sudden patch of wildflowers. Circle Back is a bared heart, one readers will find as thoughtful as it is tender.

A noted sculptor turns her talents to poetry in a collection that explores the satisfactions and complications of being a Pueblo Indian woman in the late twentieth century

"Shapes of Clay" by Ambrose Bierce is a collection of poetry that reveals the versatile and often satirical literary talents of the American journalist and author. Published during the late 19th and early 20th centuries, Bierce's collection likely reflects his unique perspective, wit, and penchant for exploring the darker aspects of human nature. In "Shapes of Clay," readers can expect to encounter a diverse range of poetic forms and themes. Bierce, known for his incisive and often sardonic writing style, may use poetry as a medium to critique societal norms, challenge conventions, and delve into the complexities of the human psyche. The title itself suggests a malleability of form, perhaps symbolizing the fluid nature of human character and society. Bierce's poetry is likely marked by a keen sense of irony, humor, and a razor-sharp wit. His verses may offer satirical commentary on politics, morality, and the foibles of the human condition. Through carefully crafted language and clever wordplay, Bierce may create a collection that engages readers intellectually while challenging them to reconsider conventional wisdom.