The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

Pulitzer Prize winner Stephen Dunn examines the difficulties of telling the truth, and the fictions with which we choose to live. Incisively capturing the oddities of our logic and the whimsies of our reason, the poems in Whereas show there is always another side to a story. With graceful rhythm and equal parts humor and seriousness, Stephen Dunn considers the superstition and sophistry embedded in everyday life: household objects that seem to turn against us, the search for meaning in the barrage of daily news, the surprising confessions between neighbors across a row of hedges. Finding beauty in the ordinary, this collection affirms the absurdity of making affirmations, allowing room for more rethinking, reflection, revision, prayer, and magic in the world.

The 2016 winner of the Walt Whitman Award of the Academy of American Poets, selected by Carolyn Forché When I make the crossing, you must not be taken no matter what the current gives. When we reach the camp, there will be thousands like us. If I make it onto the plane, you must follow me to the roads and waiting pastures of America. We will not ride the water today on the shoulders of buffalo as we used to many years ago, nor will we forage for the sweetest mangoes. I am refugee. You are too. Cry, but do not weep. —from “Transmigration” Afterland is a powerful, essential collection of poetry that recounts with devastating detail the Hmong exodus from Laos and the fate of thousands of refugees seeking asylum. Mai Der Vang is telling the story of her own family, and by doing so, she also provides an essential history of the Hmong culture’s ongoing resilience in exile. Many of these poems are written in the voices of those fleeing unbearable violence after U.S. forces recruited Hmong fighters in Laos in the Secret War against communism, only to abandon them after that war went awry. That history is little known or understood, but the three hundred thousand Hmong now living in the United States are living proof of its aftermath. With poems of extraordinary force and grace, Afterland holds an original place in American poetry and lands with a sense of humanity saved, of outrage, of a deep tradition broken by war and ocean but still intact, remembered, and lived.

A landmark anthology celebrating twenty-one Native poets first published in the twenty-first century New Poets of Native Nations gathers poets of diverse ages, styles, languages, and tribal affiliations to present the extraordinary range and power of new Native poetry. Heid E. Erdrich has selected twenty-one poets whose first books were published after the year 2000 to highlight the exciting works coming up after Joy Harjo and Sherman Alexie. Collected here are poems of great breadth—long narratives, political outcries, experimental works, and traditional lyrics—and the result is an essential anthology of some of the best poets writing now. Poets included are Tacey M. Atsitty, Trevino L. Brings Plenty, Julian Talamantez Brolaski, Laura Da’, Natalie Diaz, Jennifer Elise Foerster, Eric Gansworth, Gordon Henry, Jr., Sy Hoahwah, LeAnne Howe, Layli Long Soldier, Janet McAdams, Brandy Nalani McDougall, Margaret Noodin, dg okpik, Craig Santos Perez, Tommy Pico, Cedar Sigo, M. L. Smoker, Gwen Westerman, and Karenne Wood.

"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

Cell Traffic presents new poems and uncollected prose poetry along with selected work from award-winning poet Heid Erdrich's three previous poetry collections. Erdrich's new work reflects her continuing concerns with the tensions between science and tradition, between spirit and body. She finds surprising common ground while exploring indigenous experience in multifaceted ways: personal, familial, biological, and cultural. The title, Cell Traffic, suggests motion and Erdrich considers multiple movements-cellular transfer, the traffic of DNA through body parts and bones, "migration" through procreation, and the larger "movements" of indigenousness and ancestral inheritance.ÊErdrich's wry sensibility, sly wit, and keenly insightful mind have earned her a loyal following. Her point of view is always slightly off center, and this lends a particular freshness to her poetry. The debunking and debating of the science of origins is one of Erdrich's focal subjects. In this collection, she turns her observational eye to the search for a genetic mother of humanity, forensic anthropology's quest for the oldest known bones, and online offers of genetic testing. But her interests are not limited to science. She freely admits popular culture into her purview as well, referencing sci-fi television series and Internet pop-up ads.

Winner of the T. S. Eliot Prize 2020. Poetry Book Society Choice, Summer 2020. Bhanu Kapil’s extraordinary and original work has been published in the US over the last two decades. During that time Kapil has established herself as one of our most important and ethical writers. Her books often defy categorisation as she fearlessly engages with colonialism and its ongoing and devastating aftermath, creating what she calls in Ban en Banlieue (2015) a ‘Literature that is not made from literature’. Always at the centre of her books and performances are the experiences of the body, and, whether she is exploring racism, violence, the experiences of diaspora communities in India, England or America, what emerges is a heart-stopping, life-affirming way of telling the near impossible-to-be-told. How To Wash A Heart, Kapil's first full-length collection published in the UK, depicts the complex relations that emerge between an immigrant guest and a citizen host. Drawn from a first performance at the ICA in London in 2019, and using poetry as a mode of interrogation that is both rigorous, compassionate, surreal, comic, painful and tender, by turn, Kapil begins to ask difficult and urgent questions about the limits of inclusion, hospitality and care.