In the tumult of our contemporary moment, poetry has emerged as an inviting, consoling outlet with a unique power to move and connect us, to inspire fury, tears, joy, laughter, and surprise. This generous anthology pairs fifty illuminating poems with poet and podcast host Pádraig Ó Tuama's appealing, unhurried reflections. With keen insight and warm personal anecdotes, Ó Tuama considers each poem's artistry and explores how its meaning can reach into our own lives.

In this deeply intimate second poetry collection, Ocean Vuong searches for life among the aftershocks of personal and social loss, embodying the paradox of sitting in grief while being determined to survive beyond it. Shifting through memory, and in concert with the themes of his novel On Earth We’re Briefly Gorgeous, Vuong contends with the meaning of family and the cost of being the product of an American war in America. At once vivid, brave, and propulsive, these poems circle fragmented lives to find both restoration as well as the epicenter of the break.

An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from National Book Critics Circle Award winner, National Book Award finalist and U.S. Poet Laureate Ada Limón.

In 70 poems bearing the same title, Terrance Hayes explores the meanings of American, of assassin, and of love in the sonnet form. Written during the first two hundred days of the Trump presidency, these poems are haunted by the country's past and future eras and errors, its dreams and nightmares. Inventive, compassionate, hilarious, melancholy, and bewildered - the wonders of this new collection are irreducible and stunning.

Postcolonial Love Poem, the brilliant second collection from Natalie Diaz, holds in its pages the urgent appeal for all bodies―bodies of lovers, family, enemies, as well as of language and rivers and land―to be held dearly. In her lyrical landscape, Diaz tenderly prods the wounds inflicted by America onto its Indigenous peoples.

Carl Phillips' new poetry collection, Pale Colors in a Tall Field, is a meditation on the intimacies of thought and body as forms of resistance. The poems are both timeless and timely, asking how we can ever truly know ourselves in the face of our own remembering and inevitable forgetting. Here, the poems metaphorically argue that memory is made up of various colors, with those most prominent moments in a life seeming more vivid, though the paler colors are never truly forgotten.

Out in the desert in a place called the Palace, a young man tends to a dying soul, someone he once knew briefly, but who has haunted the edges of his life. Juan Gay—playful raconteur, child lost and found and lost, guardian of the institutionalized—has a project to pass along. It is inspired by a true artifact of a book, Sex Variants: A Study in Homosexual Patterns, which contains stories collected in the early twentieth century from queer subjects by a queer researcher, Jan Gay, whose groundbreaking work was then co-opted by a committee, her name buried.

The Asking takes its title from the closing line of one of its newly appearing poems: “don’t despair of this falling world, not yet didn’t it give you the asking.” In its substantial opening section of new work, Jane Hirshfield continues her signature affirmation of the central contradictions, uncertainties, and harvests of astonishment that shape our human lives. A forefront spokesperson for the biosphere and the alliance of science and imagination, Hirshfield offers, as indispensable compass, the choice to embrace what comes. I

This first audio edition of Poetry in Person: 25 Years of Conversation with America’s Poets (Knopf, 2010), invites listeners into an intimate classroom with eight acclaimed poets. Full of compelling, in-depth conversation about manuscripts and drafts by the poets themselves, plus readings of the finished poems, these historic recordings offer one of the most detailed portraits ever produced of how poems are actually made.

In her formidable and clairvoyant new collection, Runaway, Jorie Graham deepens her vision of our futurity. What of us will survive? Identity may be precarious, but perhaps love is not? Keeping pace with the desperate runaway of climate change, social disruption, our new mass migrations, she struggles to reimagine a habitable present - a now - in which we might endure, wary, undaunted, ever-inventive, “counting silently towards infinity”.

Deaf Republic opens in an occupied country in a time of political unrest. When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear—they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence.

It is Sharon's gift to us that in her richly detailed exposure of her sorrows she can still elegize songbirds, her true kin, and write that heaven comes here in life, not after it.

Originally broadcast on BBC Radio 4, Jeremy Irons' perceptive reading illuminates the poetry of T. S. Eliot in all its complexity. Major poems range from 'The Love Song of J. Alfred Prufrock' through the post-war desolation of 'The Waste Land' and the spiritual struggle of 'Ash-Wednesday', to the enduring charm of 'Old Possum's Book of Practical Cats'.

In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy that resonates profoundly. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—Abdurraqib uses music and culture as a lens through which to view our world so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

In this wise and intimate new book, Sharon Olds tells the story of a divorce, embracing strands of love, sex, sorrow, memory, and new freedom. As she carries us through the seasons when her marriage was ending, Olds opens her heart to the listener, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip; the radical change in her sense of place in the world.

Growing up in 1980s Niagara Falls - a seedy but magical, slightly haunted place - Jake Baker spends most of his time with his uncle Calvin, a kind but eccentric enthusiast of occult artifacts and conspiracy theories. The summer Jake turns 12, he befriends a pair of siblings new to town, and so Calvin decides to initiate them all into the "Saturday Night Ghost Club." But as the summer goes on, what begins as a seemingly light-hearted project may ultimately uncover more than any of its members had imagined.

Good Poems includes poems about lovers, children, failure, everyday life, death, and transcendence. It features the work of classic poets, such as Emily Dickinson, Walt Whitman, and Robert Frost, as well as the work of contemporary greats such as Howard Nemerov, Charles Bukowski, Donald Hall, Billy Collins, Robert Bly, and Sharon Olds Good Poems includes poems about lovers, children, failure, everyday life, death, and transcendence.

Father Greg Lockwood is unlike any Catholic priest you have ever met - a man who lounges in boxer shorts, who loves action movies, and whose constant jamming on the guitar reverberates "like a whole band dying in a plane crash in 1972". His daughter is an irreverent poet who long ago left the church's country. When an unexpected crisis leads her and her husband to move back into her parents' rectory, their two worlds collide.

Karen Russell’s comedic genius and mesmerizing talent for creating outlandish predicaments that uncannily mirror our inner in lives is on full display in these eight exuberant, arrestingly vivid, unforgettable stories. In “Bog Girl”, a revelatory story about first love, a young man falls in love with a 2,000-year-old girl that he’s extracted from a mass of peat in a Northern European bog. In “The Prospectors”, two opportunistic young women fleeing the depression strike out for new territory, and find themselves fighting for their lives. Plus much more.

The only thing more beautiful than Beyoncé is God, and God is a black woman sipping rosé and drawing a lavender bath, texting her mom, belly laughing in the therapist's office, feeling unloved, being on display, daring to survive. Morgan Parker stands at the intersections of vulnerability and performance, of desire and disgust, of tragedy and excellence. Unrelentingly feminist, tender, and ruthless, these poems are an altar to the complexities of black American womanhood in an age of non-indictments and déjà vu.

Drought has settled on the town of Peaches, California. The area of the Central Valley where fourteen-year-old Lacey May and her alcoholic mother live was once an agricultural paradise. Now it's an environmental disaster, a place of cracked earth and barren raisin farms. In their desperation, residents have turned to a cult leader named Pastor Vern for guidance. He promises, through secret "assignments," to bring the rain everybody is praying for.

Magical Negro is an archive of black everydayness, a catalog of contemporary folk heroes, an ethnography of ancestral grief, and an inventory of figureheads, idioms, and customs. These American poems are both elegy and jive, joke and declaration, songs of congregation and self-conception. Focused primarily on depictions of black womanhood alongside personal narratives, the collection tackles interior and exterior politics - of both the body and society, of both the individual and the collective experience.

The unsolved murder of a farm family haunts the small, white, off-reservation town of Pluto, North Dakota. The vengeance exacted for this crime and the subsequent distortions of truth transform the lives of Ojibwe living on the nearby reservation and shape the passions of both communities for the next generation.

Johnny Frías has California in his blood. A descendant of the state’s indigenous people and Mexican settlers, he has Southern California’s forgotten towns and canyons in his soul. He spends his days as a highway patrolman pulling over speeders, ignoring their racist insults, and pushing past the trauma of his rookie year, when he killed a man assaulting a young woman named Bunny, who ran from the scene, leaving Johnny without a witness.

Harrison Scott Key was born in Memphis, but he grew up in Mississippi, among pious, Bible-reading women and men who either shot things or got women pregnant. At the center of his world was his larger-than-life father - a hunter, a fighter, and a football coach. Harrison, with his love of books and excessive interest in hugging, couldn't have been less like Pop, and when it became clear that he was not able to kill anything very well or otherwise make his father happy, he resolved to become everything his father was not.

In 1955, novelist Jack Kerouac detoured from his cross-country American travels to Mexico City, where a group of junkie expatriates he had known from the New York City post-war scene had gone for the cheap and plentiful supply of heroin and morphine. Fellow beat writer William S. Burroughs, who had been a part of the Mexican expatriate community, had introduced Kerouac to Bill Garver (named Old Bull Gaines in the novel), a much-older, long-term addict who had in turn introduced Kerouac to Esperanza Villanueva, whom Kerouac named Tristessa in the novel.

Nephthys Kinwell is a taxi driver of sorts in Washington, DC, ferrying passengers in a 1967 Plymouth Belvedere with a ghost in the trunk. Endless rides and alcohol help her manage her grief over the death of her twin brother, Osiris, who was murdered and dumped in the Anacostia River. Unknown to Nephthys when the novel opens in 1977, her estranged great-nephew, 10-year-old Dash, is finding himself drawn to the banks of that very same river. It is there that Dash has charmed conversations with a mysterious figure he calls the "River Man".

Saguaro chronicles the life of rock legend Bobby Bird as he finds himself rolled up in barbiturates, at sea with satanic cults, finding true love, selling out, and coming back. Bird may be many things - a legend in pink cotton, a living history in tattoos, the very embodiment of rock and roll - but he isn’t a bad man. At least not all the time. He made his name as a crooner, revered as a singer with soul, a soul he quickly sold without ever considering the implications.

Lala Reyes’ grandmother is descended from a family of renowned rebozo, or shawl-makers. The striped (caramelo) is the most beautiful of all, and the one that makes its way, like the family history it has come to represent, into Lala’s possession. The novel opens with the Reyes’ annual car trip - a caravan overflowing with children, laughter, and quarrels - from Chicago to “the other side”, Mexico City. It is there, each year, that Lala hears her family’s stories, separating the truth from the “healthy lies” that have ricocheted from one generation to the next.

Lit follows Mary Karr's descent into the inferno of alcoholism and madness - and her astonishing resurrection. Karr's longing for a solid family seems secure when her marriage to a handsome, Shakespeare-quoting poet produces a son they adore. But she can't outrun her apocalyptic past. She drinks herself into the same numbness that nearly devoured her charismatic but troubled mother, reaching the brink of suicide. A hair-raising stint in "The Mental Marriott" awakens her to the possibility of joy, and leads her to an unlikely faith.