Imperfect Present is a book for our current moment. By confronting the urgencies of daily life, from questions of identity to sexual abuse to racial unrest to the ubiquity of plastic, these poems investigate ways to sustain ourselves in our fraught public and private lives. With her characteristic linguistic play, Sharon Dolin illuminates some of the most personal concerns that resonate throughout our culture and in ourselves, such as error, despair, uncertainty, and doubt. In sections that deploy the lens of art, the “Oblique Strategies” of Brian Eno and Peter Schmidt, and meditations on dreams and spirituality, Imperfect Present provides a panoply of approaches that grapple with the complexity of now.

In Lapis, poet Kerri Webster writes into the vast space left by the deaths of three women: her mother, a mentor, and a friend. Using a wide array of lyric forms and meditations, Webster explores matrilineages both familial and poetic, weaving together death, spirituality, women, and a sense of the shifting earth into one "doctrine of Non-linear Revelation."

Belly to the Brutal sings a corrido of the love between mothers and daughters, confronting the learned complicity with patriarchal violence passed down from generation to generation. This poetry edges into the borderlands, touching the realm of chora - humming, screaming, rhythm - transporting the words outside of patriarchal and racist constructs. Drawing from curanderisma and a revived wave of feminist brujería, Jennifer Givhan creates a healing space for Brown women and mothers. Each poem finds its own form, interweaving beauty and devastation to create a pathway out of the systems that have for too long oppressed women. The poems dwell in the thick language of "motherfear," "where love grows too / in the shining center of the wound." This poetry of invocation moves toward a transformation of violence that is ultimately redemptive.

First published in 1937, Hounds on the Mountain evokes Still's personal experiences of Eastern Kentucky through reflective folk poems describing Appalachian mountain life from birth through death. Written during the Great Depression, the collection emphasizes a collective reliance on the earth and the primacy of nature that Still observed from the seclusion of his thirty-one acre home in Knott County, Kentucky. The "Dean of Appalachian Literature" describes the changing landscape of his adopted community as a tale of personal and environmental erosion. In many ways the author asks his readers to better protect this fragile ecosphere and set the stage for his rise to eminence in the literary field. Still's regional focus on the self-made authenticity of community artisans also reminded American readers during the Great Depression that local economies needed to be supported just as much as those at the national and global level. Both in prose and product, Hounds on the Mountain allows today's audiences to appreciate the book as both literature and cultural symbolism of Appalachian life as it exists then and now.

Calling from the Scaffold is a collection of poems about connecting and not connecting – or approaching the brink of connecting. It’s about paying tribute and salvaging and gratitude. The voices vary in their longings: we hear from men and women, the young and no longer young. Nature often is there to help them out.

Hello I Must Be Going, David Hernandez's fifth collection of poems, offers a unique take on poetry informed by works of art. With narrative and lyrical brushstrokes, Hernandez crafts vibrant landscapes that depict the chaos of the modern world and the beauty entwined within it.

Prelude explores the gay female experience through a poetic reconstruction of the girlhood and adolescence of Saint Catherine of Siena. Speaking through a poetic persona of Catherine of Siena, Prelude addresses the historical erasure of gay women’s lives, juxtaposing details from her girlhood with the terrain of the lesbian body as it relates to desire and violence.

When former Kentucky Poet Laureate Richard Taylor took a job at Kentucky State University in 1975, he purchased a fixer-upper - in need of a roof, a paint job, city water, and central heating - that became known to his friends as "Taylor's Folly." The historic Giltner-Holt House, which was built in 1859 and sits close by the Elkhorn Creek a few miles outside of Frankfort, became the poet's entrance into the area's history and culture, and the Elkhorn became a source of inspiration for his writing. Driven by topophilia (love of place), Taylor focuses on the eight-mile stretch of the creek from the Forks of the Elkhorn to Knight's Bridge to provide a glimpse into the economic, social, and cultural transformation of Kentucky from wilderness to its current landscape. He explores both the natural history of the region and the formation of the Forks community. Taylor recounts the Elkhorn Valley's inhabitants from the earliest surveyors and settlers to artist Paul Sawyier, who memorably documented the creek in watercolors, oils, and pastels. Interspersed with photographs and illustrations - contemporary and historic - and intermixed with short vignettes about historical figures of the region, Elkhorn: Evolution of a Kentucky Landscape delivers a history that is by turns a vibrant and meditative personal response to the creek and its many wonders. Flowing across four counties in central Kentucky, Elkhorn Creek is the second largest tributary of the Kentucky River. Known for its beauty and recreational opportunities, Elkhorn Creek has become an increasingly popular location for canoeing, kayaking, and camping and is one of the state's best-known streams for smallmouth bass, bluegills, and crawfish. Like Walden Pond for Henry David Thoreau, the Elkhorn has been a touchstone for Taylor. A beautiful blend of creative storytelling and historical exploration of one of the state's beloved waterways, Elkhorn celebrates a gem in the heart of central Kentucky.

Sylvie Kandé's neo-epic in three cantos is a double narrative combining today's tales of African migration to Europe on the one hand, with the legend of Abubakar II on the other: Abubakar, emperor of 14th-Century Mali, sailed West toward the new world, never to return. Kandé's language deftly weaves a dialogue between these two narratives and between the epic traditions of the globe. Dazzling in its scope, the poem swings between epic stylization, griot storytelling, and colloquial banter, capturing an astonishing range of human experience. Kandé makes of the migrant a new hero, a future hero whose destiny has not yet taken shape, whose stories are still waiting to be told in their fullness and grandeur: the neverending quest has only just begun.

What will we call the last generation before the looming end times? With Finalists Rae Armantrout suggests one option. Brilliant and irascible, playful and intense, Armantrout nails the current moment's debris fields and super computers, its sizzling malaise and confusion, with an exemplary immensity of heart and a boundless capacity for humor. The poems in this book find (and create) beauty in midst of the ongoing crisis.

"Grape is the sweetest betrayal. There is no removing the stain Of it say moms everywhere & Even if kids choose it last; They choose it, as loyal To its sugar as any." When authorities converged on the Peoples Temple Agricultural Project, known as Jonestown, in Guyana on November 18, 1978, more than 900 members were found dead, the result of murder-suicide. The massacre, led by cult leader James "Jim" Jones, was the largest mass loss of American lives before September 11, 2001. Yet this event is largely absent in American history. When the mass suicides are remembered, it is usually comically or instructively: "Don't drink the Kool-Aid," as the majority of those who died that day drank or were injected with grape flavored Flavor-Aid. Much has been documented about this tragic day and how the congregants were killed, yet little is written about the individuals and their lived experiences. In this profound and provocative poetry collection, darlene anita scott corrects that which has been disremembered and honors the people who perished. She elevates and gives voice to the children, teenagers, and adults whose hopes, dreams, and lives were just as hopeful and mundane as any others yet have been overlooked and overshadowed by the other focuses of history. The distinct, haunting, and unforgettable poems in Marrow cut to the bone while also acknowledging and giving tribute to those who died on that fateful day.

What actually happens within the revolution of the clock's hands? In The Writing of an Hour the poet considers the effort and the deliberateness that brings her to her desk each day. Despite domestic and day job demands and widespread lockdown, Coultas forges connections to the sublime and wonders what it means to be from the Americas. These poems verge on the surreal, transform the quotidian, and respond anew to the marvelous. The Writing of an Hour takes the reader on a journey in four sections; from a bedroom to an improvised desk over the North Sea, where she attempts to create an artwork inside an airplane cabin flying over Greenland's rivers of ice.

In about:blank, Tracy Fuad builds a poetics of contemporary dissociation. Funny, plaintive, and cutting, this formally inventive debut probes alienation in place and in language through the author's consideration of her own relationship to Iraqi Kurdistan. about:blank - the title of which is the universal URL for a blank web page - complicates questions of longing and belonging. Interrogating the language of internet chatrooms, Yelp reviews, and the Kurdish dictionary, the poems here leap surprisingly between subjects to find new meaning. Written before and during the years the author spent living in Iraqi Kurdistan, the collection documents the alienation of being inside, outside, and between language(s) and the always-already terror of grammar. At once haunted and humorous, about:blank inhabits and exhibits the disorientation and fragmentation that is endemic to the internet era, and mourns the loss of a more embodied existence.

Dark Traffic creates landmarks through language, by which its speakers begin to describe traumas in order to survive and move through them. With fine detail and observation, these poems work in some way like poetic weirs: readers of Kane’s work will see the artic and subarctic, but also, more broadly, America, and the exigencies of motherhood, indigenous experience, feminism, and climate crises alongside the near-necropastoral of misogyny, violence, and systemic failures. These contexts catch the voice of the poems’ speakers, and we perceive the currents they create.

Winner of the 2020 Cave Canem Poetry Prize"Some writers write poetry to flex what they can do. Aurielle Marie writes reckoning poems themselves come to work. Gumbo Ya Ya kicks with this lit lit magic, this insistent electricity, pages what sweat ink, bleed it, weep it, drip it. Aurielle Marie will cuss, but an Aurielle Marie poem can curse; that what she has seen, felt, or known, is trans-amplified in the room she gives the poem to do what it’s gonna do. Gumbo Ya Ya is Aurielle Marie’s Dirty-Dirty grimoire drawn from a vernacular trickbag at once up to something and down for whatever. These poems are spell weaving. They are bound to work you." - Douglas Kearney - Final Judge CitationWinner of the 2020 Cave Canem Poetry Prize. Gumbo Ya Ya is a cauldron of multifaceted poems confronting race, binaries, and violence, soaring against the backdrop of a contemporary South. Armed with a poetic dexterity that employs urgent subject matter and sultry lyricism, Aurielle Marie’s debut is as stunning as it is timely. The collection opens with a heartrending indictment of injustice. What follows is a striking reimagination of the world, one where no Black girl dies “by the barrel of the law” or “for loving another Black gxrl.” Part ancestral and familial archival, part ethnography of Black femme resistance, Gumbo Ya Ya catalogues the wide gamut of Black life at its intersections, with cultural commentary and personal narrative. It asks us to chew upon both the rich meat and tough gristle, and in doing so we walk away, washed anew and more than satisfied. Upon both the rich meat and tough gristle, and in doing so we walk awaymore whole than we began and thoroughly satisfied.

Winner of the 2020 Agnes Lynch Starrett Prize for PoetryThe title Little Pharma is both a doppelgänger and a cri de coeur: as the poet’s dreamlike double, the character Little Pharma navigates the murky channels of the hospital and clinic, the borderlands of the living and the dead, and the journey from novice to healer. At the same time, the poems plead for a return to a littler pharma, a space for stolen intimacy and momentary quiet amidst the impersonal and engulfing chill that floods the anatomical theater and the corridors of illness. The poems trace the arc of a young woman’s life, from being a hesitant and anxious, newly-minted medical trainee to becoming an adept of the otherworldly logic of the hospital wards. In between, interludes on love, family life, and escapes into art and history bob and weave among the hospital poems, bringing back the hot clamor of the outside world. Little Pharma is a Dantean journey from the depths of an institution, and of a pervading personal dread, to a renewed celebration of human contact, the body, and the giddy, terrifying excitement of ongoing life.