“Spaar sounds like no other poet writing today.”—Jennifer Chang, The Believer With her trademark language—baroque yet colloquial, immediately recognizable but impossible to duplicate—Lisa Russ Spaar has written her most sumptuous, alluring, and steamy poems to date, each one bursting with an appetite for the sensuous and the lingual. “Is syntax erotic?” she asks in Vanitas, Rough. “If so, please. Please read. Here.”

Rough Honey is the 2010 winner of the APR/Honickman First Book Prize, selected and introduced by Mark Doty.

Oil workers are often typecast as rough: embodying the toxic masculinity, racism, consumerist excess, and wilful ignorance of the extractive industries and petrostates they work for. But their poetry troubles these assumptions, revealing the fear, confusion, betrayal, and indignation hidden beneath tough personas. The Rough Poets presents poetry by workers in the Canadian oil and gas industry, collecting and closely reading texts published between 1938 and 2019: S.C. Ells’s Northland Trails, Peter Christensen’s Rig Talk, Dymphny Dronyk’s Contrary Infatuations, Mathew Henderson’s The Lease, Naden Parkin’s A Relationship with Truth, Lesley Battler’s Endangered Hydrocarbons, and Lindsay Bird’s Boom Time. These writers are uniquely positioned, Melanie Dennis Unrau argues, both as petropoets who write poetry about oil and as theorists of petropoetics with unique knowledge about how to make and unmake worlds that depend on fossil fuels. Their ambivalent, playful, crude, and honest petropoetry shows that oil workers grieve the environmental and social impacts of their work, worry about climate change and the futures of their communities, and desire jobs and ways of life that are good, safe, and just. How does it feel to be a worker in the oil and gas industry in a climate emergency, facing an energy transition that threatens your way of life? Unrau takes up this question with the respect, care, and imagination necessary to be an environmentalist reader in solidarity with oil workers.

Deborah Digges's third and best book of poems has been hailed by The New Yorker as "an outstanding collection, " and by Mark Doty as "so exhilarating that even its darkest notes shine with a strange joy." Her subjects range from the graffiti with which a street gang mourns a dead comrade to aples"three red, one golden, like a flower."

Poems and woodcut prints of birds and other animals by Maine artist and poet Leslie Moore.

“Ed Skoog’s poetry is so ambitious…it knows how to fishtail with images and turn with ease.” —The Stranger

“Olivarez steps into the ‘inbetween’ standing between Mexico and America in these compelling, emotional poems. Written with humor and sincerity” (Newsweek). Named a Best Book of the Year by Newsweek and NPR. In this “devastating debut” (Publishers Weekly), poet José Olivarez explores the stories, contradictions, joys, and sorrows that embody life in the spaces between Mexico and America. He paints vivid portraits of good kids, bad kids, families clinging to hope, life after the steel mills, gentrifying barrios, and everything in between. Drawing on the rich traditions of Latinx and Chicago writers like Sandra Cisneros and Gwendolyn Brooks, Olivarez creates a home out of life in the in-between. Combining wry humor with potent emotional force, Olivarez takes on complex issues of race, ethnicity, gender, class, and immigration using an everyday language that invites the reader in, with a unique voice that makes him a poet to watch. “The son of Mexican immigrants, Olivarez celebrates his Mexican-American identity and examines how those two sides conflict in a striking collection of poems.” —USA Today