Plague is both metaphor and physical presence. The poems in this volume, written between January and June of 2020, address the plagues of COVID-19; racism, police brutality; and political indifference, ineptness, and malfeasance. The poems offer the hope that the first plague has taught us about the good fruits of compassion and community and that the continuing nonviolent protests in the United States over the second plague, racism, will help birth a resurrection in the hearts, minds, and souls of all Americans, a new Easter. The twentieth-century theologian Karl Barth astutely said, "The pastor and his congregation should not imagine that they are a religious society that is fixated [only] on certain themes, but that they live in this world. We do indeed need, according to my old formulation, the Bible and the newspaper." With the poems in this volume, the author, newspaper in hand, reflects on events from January to early June 2020 and does so by integrating reflections on Scripture with current events.

It is more than a year since Covid-19 invaded our countries and our bodies, causing us to long for the touch of loved ones, to fight anxiety and despair, and to adjust to the stunning effects of prolonged isolation. We watched as the numbers of deaths mounted and agreed that it was the worst health crisis we’d experienced in a hundred years. We saw pictures of those we’d lost, and resisted having them treated as mere statistics. What we longed for were stories about people lost to the insidious virus, and those left behind. We wanted stories of survival, coping, finding our way to the future. We wanted stories that made us laugh, weep, empathize, share sadness, become better people ourselves. That’s because storytelling, whether sung, danced, painted, acted, or written in prose and poetry is primal. It’s how we come to understand the world around us. Stories give us wholeness and allow us to recover something vital and true in our lives. Stories, as writer Sue Monk Kidd knows, are “the life of the soul.” Telling and hearing stories of how we got through this dreadful pandemic is how we say what happened, with empathy, so that future generations will know what it was like to live in isolation for over a year, to feel afraid while trying to be brave, to cope, and even to grow because of the shared experience. The stories we tell, and the carefully crafted words we use to tell them are an act of remembrance in which our words build monuments to a time when our lives called upon us to carry on and to endure, to know what really matters, to know what to cling to and what to let go. In making much of the mundane, 53 poets share 70 poems in the anthology A 21st Century Plague: Poetry from a Pandemic. The poems, by diverse and award-winning writers, capture and share the collective Covid experience in which we became “gardeners of the spirit who know that without darkness nothing comes to birth,” as writer May Sarton put it. They reveal that we were brave in our contemplative journey, and that we dared “to deal with our bag of fears,” as Eudora Welty said we must. The poetic expressions of such courage are healing. They soothe us and help us recover from, and recall, a transformative experience. This anthology adds to the tradition of sharing stories in well-chosen words that move and enlighten us.

Jay Hulme is an award-winning transgender poet, performer, educator and speaker. In late 2019, his fascination with old church buildings turned into a life-changing encounter with the God he had never believed in, and he was baptised in the Anglican church. In this new poetry collection, Jay details his journey through faith and baptism during an unprecedented world-wide pandemic. As he finds God in the ruined factories and polluted canals of his home city, Jonah is heckled over etymology, angels appear in tube stations, and Jesus sits atop a multi-story car park. Cathedrals are trans, trans people are cathedrals, and amidst it all God reaches out to meet us exactly where we are. Jay’s poetry explores belief in the modern world and offers a perspective on queer faith that will appeal not only to Christians, but young members of the LGBT+ community who are interested in faith but unsure of where to start.

Written during the Russian Revolution of 1917 and the Moscow famine that followed, these poems are suffused with Tsvetaeva's irony and humor, which undoubtedly accounted for her success in not only reaching the end of the plague year alive, but making it the most productive of her career. We meet a drummer boy idolizing Napoleon, an irrepressibly mischievous grandmother who refuses to apologize to God on Judgment Day, and an androgynous (and luminous) Joan of Arc. Represented on a graph, Tsvetaeva's work would exhibit a curve - or rather, a straight line - rising at almost a right angle because of her constant effort to raise the pitch a note higher, an idea higher ... She always carried everything she has to say to its conceivable and expressible end. In both her poetry and her prose, nothing remains hanging or leaves a feeling of ambivalence. Tsvetaeva is the unique case in which the paramount spiritual experience of an epoch (for us, the sense of ambivalence, of contradictoriness in the nature of human existence) served not as the object of expression but as its means, by which it was transformed into the material of art. --Joseph Brodsky While your eyes follow me into the grave, write up the whole caboodle on my cross! 'Her days began with songs, ended in tears, but when she died, she split her sides with laugher!' --from Moscow in the Plague Year: Poems

“Kitty O’Meara…offers us wisdom that can help during the COVID-19 pandemic and beyond. She is challenging us to grow."—Deepak Chopra, MD, author, Metahuman “Kitty O'Meara is the poet laureate of the pandemic"—O, The Oprah Magazine "An eloquent, heartwarming reflection that will resonate with generations to come… encouragement for a brighter tomorrow."—Kate Winslet "And the People Stayed Home is an uplifting perspective on the resilience of the human spirit and the healing potential we have to change our world for the better." ––Shelf Awareness “Images of nature healing show the author’s vision of hope for the future…The accessible prose and beautiful images make this a natural selection for young readers, but older ones may appreciate the work’s deeper meaning.”— Kirkus Reviews “This is a perfectly illustrated version of a poem that continues to be relevant.”—School Library Journal “A stunning and peaceful offering of introspection and hope.”—The Children’s Book Review Ten Best Children’s Books of 2020: "A calming, optimistic read, and a salve for children trying their best to navigate this time." —Smithsonian Magazine “It captured the kind of optimism people need right now.”—Esquire (UK) “Thank you, Kitty O'Meara…for pointing out that at this very moment, this very day, we can seize the opportunity to restore wholeness to our world."—Sy Montgomery, bestselling author of The Good Good Pig and The Soul of an Octopus “A poem by American writer Kitty O’Meara has deservedly gone viral.”—Edinburgh Evening News And the People Stayed Home is a beautifully produced picture book featuring Kitty O’Meara’s popular, globally viral prose poem about the coronavirus pandemic, which has a hopeful and timeless message. Kitty O’Meara, author of And the People Stayed Home, has been called the “poet laureate of the pandemic.” This illustrated children’s book (ages 4-8) will also appeal to readers of all ages. O’Meara’s thoughtful poem about the pandemic, quarantine, and the future suggests there is meaning to be found in our shared experience of the coronavirus and conveys an optimistic message about the possibility of profound healing for people and the planet. Her words encourage us to look within, listen deeply, and connect with ourselves and the earth in order to heal. O’Meara, a former teacher and chaplain and a spiritual director, clearly captures important aspects of the pandemic experience. Her words, written in March 2020 and shared on Facebook, immediately resonated nationally and internationally and were widely circulated on social media, covered in mainstream news media, and inspired an outpouring of creativity from musicians, dancers, artists, filmmakers, and more. The many highlights include an original composition by John Corigliano that was premiered by Renée Fleming.

Breathe Together takes its title from the Latin root words of the word "conspiracy," which also gives the central poem its title. It is both deeply personal and universally relatable, and it speaks to the resilience and humanity of those who lived through complex losses and betrayals during these traumatic times. The language is both mystical and cerebral, with a strong sense of imagery, reflection, and raw emotion. The collection is not only a meditation of the pandemic, familial lineage, insanity, and infidelity, but also the emotional journey of the poet. The reader can feel the pain, enchantment, and uncertainty that the poet feels. The poems are written in a variety of styles and forms, but they are united by a common thread of foreignness and vulnerability. The poems addressing the pandemic capture the terror and uncertainty of living through a global crisis, as well as the moments of hope and connection that have helped people to get through it. The poems about insanity delve into the confusion and turmoil of watching someone you love losing their grip on reality even as the world seems to have lost its grasp on truth. Poems about becoming a grandmother reflect on the joys and sorrows of being far away while one's troubled child starts a family of their own, while contrasting with the discovery of infidelity and confronting the pain and betrayal of having one's trust broken. Overall, Breathe Together is a powerful collection of poetry that delves into the complexities of human emotion during a time of calamity. It is a must-read for anyone who has been affected by the pandemic, struggled with mental health, become a grandmother, or experienced infidelity. It is a reminder that amid difficult times we can still find hope, connection and healing by breathing together.

This early work by Thomas Nashe was originally published in 1600 and we are now republishing it with a brand new introductory biography. 'Summer's Last Will and Testament' is an Elizabethan era stage play that broke new ground in the development of English Renaissance drama. Thomas Nashe was born in November 1567. He was an English Elizabethan Pamphleteer, playwright, poet and satirist, but little is known with certainty about his life. Much of the information we have has been inferred from his writings. Nashe's first appearance in print was his preface to Robert Greene's Menaphon (1589), in which he offers a brief definition of art and an overview of contemporary literature. His early exercise in euphuism The Anatomy of Absurdity was published in the same year. From then on Nashe became involved in numerous political and religious causes, including the Martin Marprelate controversy where he sided with the bishops. Nashe offers an important insight into the workings of 16th century English life and his writings will continue to be studied for both their literary content and historical relevance.