..".thoughtful recollections, scary memories, articulate reflections, and the resolve of a man who has been there."--"Publishers Weekly"

At age nineteen, Hugh Martin withdrew from college when his National Guard unit was activated for a deployment to Iraq. After training at Fort Bragg, Martin spent 2004 in Iraq as the driver of his platoon sergeant's Humvee. He participated in hundreds of missions including raids, conducting foot patrols, clearing routes for IEDs, disposing of unexploded ordnance, and searching thousands of Iraqi vehicles. These poems recount his time in basic training, his preparation for Iraq, his experience withdrawing from school, and ultimately, the final journey to Iraq and back home to Ohio.

Hugh Martin holds an MFA from Arizona State University. He is a Stegner Fellow at Stanford University.

Things That No Longer Delight Me is a collection of poems about family and memory. This book is filled with objects. The author writes: 'I like objects for company, to decorate the plainest spaces, decorum and I amass details, jade bracelet, her animal-print dresses, an oval coral cameo'. How do objects counter loneliness, she asks, and speak to us of how to behave? In Things That No Longer Delight Me, lyric is driven by a compulsion or need to collect, in order to make sense of the past and stay connected to it. And what if that connection were to be lost? Confronting loss, the book pieces together a family history from stories fragmented and overheard. It asks: What is hearsay and what is history? It seeks to embody story, or historical detail, in lyric form. Resisting nostalgia, its poems respect what is diminished by grief or loss yet reveal details that hold sway over us and give us continuing pleasure.

Sterling A. Brown was renowned for his prolific poetry and scholarship on African American folklife. A contemporary of Langston Hughes, Claude McKay, and Jean Toomer and the first poet laureate of the District of Columbia, Brown gained acclaim for blues, jazz, and southern folklore. His celebrated works, including Southern Road, are collages of narrative and dialect unique to Brown's unflinching poetic voice. Edited by the late distinguished poet Michael S. Harper, this new edition includes a foreword by award-winning poet Cornelius Eady and introductory texts by James Weldon Johnson and Sterling Stuckey. The result is a tour de force by one of the most distinctive poets in American letters.

Brutal Imagination is the work of a poet at the peak of his considerable powers. Its two central sections--which could be called song cycles--confront the same subject: the black man in America.

The first, which carries the book's title, deals with the vision of the black man in white imagination. Narrated largely by the black kidnapper that Susan Smith invented to cover up the killing of her two sons, the cycle displays all of Mr. Eady's range: his deft wit, inventiveness, and skillfully targeted anger, and the way in which he combines the subtle with the charged, street idiom with elegant inversions, harsh images with the sweetly ordinary.

The second cycle, "Running Man," presents poems Mr. Eady drew on for his libretto for the music-drama of the same name, which was a l999 Pulitzer Prize finalist. Here, the focus is the black family and the barriers of color, class, and caste that tear it apart. As the Village Voice said, "It is a hymn to all the sons this country has stolen from her African- American families."

Founded by prizewinning poets Toi Derricotte and Cornelius Eady in 1996, Cave Canem has for the past ten years dedicated itself to the discovery and cultivation of new voices in African American poetry. Cave Canem began as a week-long summer workshop/retreat for poets and has now expanded to include regional workshops, poetry readings, a series of public interviews between major poets and emerging younger poets, and an annual first book prize. The roster of participants in Cave Canem workshops and events is impressive, including Lucille Clifton, Yusef Komunyakaa, Marilyn Nelson, Sonia Sanchez, Al Young, and many others. This collection of more than one hundred poems by Cave Canem participants and faculty includes: an eclectic gathering of forms, including sonnets, a bop (a new form created by a Cave Canem faculty member), blues, sestinas, prose poems, centos, and free verse.

Winner of the 2022 Stan and Tom Wick Poetry Prize Fraternal Light: On Painting While Black: Poems for Beauford Delaney is a lyric evocation of the life and work of the great African American artist Beauford Delaney. These poems pay homage to Delaney's resilience and ingenuity in the face of profound adversity. Although his work never garnered the acclaim it deserves—and is finally receiving—Delaney was well known and highly respected in African American cultural circles, among bohemian writers and artists based in Greenwich Village from the 1930s to the early 1950s, and in Parisian avant-garde and expatriate enclaves from the mid-1950s to the mid-1970s. Drawn to Delaney's painting and personal history through her emotional response to his work, especially his portraits, Arlene Keizer has crafted a diasporic ceremony of remembrance for this Black, gay male visionary. Fraternal Light offers back an answering complexity to Delaney's life and work. One form of art calls out; another answers. Keizer's poems make the contours and challenges of Delaney's life visible, which is especially urgent in a world still frequently hostile or indifferent to Black creative brilliance.