From award-winning poet Saeed Jones, How We Fight for Our Lives is a stunning coming-of-age memoir written at the crossroads of sex, race, and power. Blending poetry and prose, Jones has developed a style that is equal parts sensual, beautiful, and powerful - a voice that’s by turns a river, a blues, and a nightscape set ablaze. How We Fight for Our Lives is a one-of-a-kind memoir and an audiobook that cements Saeed Jones as an essential writer for our time.

"The sonnet, like poverty, teaches you what you can do / without," Diane Seuss writes in this brilliant, candid work, her most personal collection to date. These poems tell the story of a life at risk of spilling over the edge of the page, from Seuss's working-class childhood in rural Michigan to the dangerous allures of New York City and back again. With sheer virtuosity, Seuss moves nimbly across thought and time, poetry and punk, AIDS and addiction, Christ and motherhood, showing us what we can do, what we can do without, and what we offer to one another when we have nothing left to spare.

Jericho Brown's daring book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown's poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we've become accustomed, and to celebrate how we survive.

When Lilith lyapo wakes from a centuries-long sleep, she finds herself aboard the vast spaceship of the Oankali. She discovers that the Oankali—a seemingly benevolent alien race—intervened in the fate of the humanity hundreds of years ago, saving everyone who survived a nuclear war from a dying, ruined Earth and then putting them into a deep sleep. After learning all they could about Earth and its beings, the Oankali healed the planet, cured cancer, increased human strength, and they now want Lilith to lead her people back to Earth—but salvation comes at a price.

An extraordinary debut novel, Freshwater explores the surreal experience of having a fractured self. It centers around a young Nigerian woman, Ada, who develops separate selves within her as a result of being born "with one foot on the other side". Unsettling, heart-wrenching, dark, and powerful, Freshwater is a sharp evocation of a rare way of experiencing the world, one that illuminates how we all construct our identities. Ada begins her life in the south of Nigeria as a troubled baby and a source of deep concern to her family.

One of the most recognizable young poets in America, Olivia Gatwood dazzles with her tribute to contemporary American womanhood in her debut book, New American Best Friend. Gatwood's poems deftly deconstruct traditional stereotypes. The focus shifts from childhood to adulthood, gender to sexuality, violence to joy. And always and inexorably, the book moves toward celebration, culminating in a series of odes: odes to the body, to tough women, to embracing your own journey in all its failures and triumphs.

Drawing from his experience as a translator, Forrest Gander includes, in the first powerfully elegiac section, a version of a poem by the Spanish mystical poet St. John of the Cross. He continues with a long multilingual poem examining the syncretic geological and cultural history of the US border with Mexico. The poems of the third section - a moving transcription of Gander’s efforts to address his mother dying of Alzheimer’s - rise like hymns, transforming slowly from reverence to revelation.

In the eyes of eighteen-year-old Hua Hsu, the problem with Ken—with his passion for Dave Matthews, Abercrombie & Fitch, and his fraternity—is that he is exactly like everyone else. Ken, whose Japanese American family has been in the United States for generations, is mainstream; for Hua, the son of Taiwanese immigrants, who makes ’zines and haunts Bay Area record shops, Ken represents all that he defines himself in opposition to. The only thing Hua and Ken have in common is that, however they engage with it, American culture doesn’t seem to have a place for either of them.

Nature Poem follows Teebs - a young, queer, American Indian (or NDN) poet - who can't bring himself to write a nature poem. For the reservation-born, urban-dwelling hipster, the exercise feels stereotypical, reductive, and boring. He hates nature. He prefers city lights to the night sky. He'd slap a tree across the face. He'd rather write a mountain of hashtag punchlines about death and give head in a pizza-parlor bathroom; he'd rather write odes to Aretha Franklin and Hole.

Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives.

Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality - the dangers experienced in skin and body and blood - and a diagnosis of HIV positive. "Some of us are killed / in pieces", Smith writes, "some of us all at once."

Black Girl Magic continues and deepens the work of the first BreakBeat Poets anthology by focusing on some of the most exciting Black women writing today. This anthology breaks up the myth of hip-hop as a boys’ club and asserts the truth that the cypher is a feminine form.

It is the summer of 2011, and Nour has just lost her father to cancer. Her mother, a cartographer who creates unusual, hand-painted maps, decides to move Nour and her sisters from New York City back to Syria to be closer to their family. But the country Nour's mother once knew is changing, and it isn't long before protests and shelling threaten their quiet Homs neighborhood. More than 800 years earlier, Rawiya, 16 and a widow's daughter, knows she must do something to help her impoverished mother. Restless and longing to see the world, she leaves home to seek her fortune.

At the center of this searing fever-dream of a novel are two men - a killer awaiting trial and a troubled young deputy - sitting across fromeach other in the dark, talking through the bars of a county jail cell: JohnGload, so brutally adept at his craft that only now, at the age of 77, has he faced the prospect of long-term incarceration; and Valentine Millimaki, low man in the Copper County sheriff's department, who draws the overnight shift after Gload's arrest.

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.