Paterson Award for Literary Excellence.

"Dawes's verse has an expressive power and lyric resonance that can be attributed to a trans-Atlantic consciousness weaned on the spiritual sources of reggae."--"New York Times Book Review"

"Raised in Jamaica, Dawes takes some of his cues, and this book's title, from reggae music. But his voice in these long and short poems and sequences selected from each of his many books, which began appearing in the mid-1990s, is crystal clear, accessible and serious, mixing a timeless myth-making energy with a strong contemporary conscience..." --National Public Radio

"This first U.S. selection from the Jamaica-bred, Nebraska-based poet (he also has a reputation in Britain) is his 16th book of verse in just 20 years; it reveals a writer syncretic, effusive, affectionate, alert to familial joys, but also sensitive to history, above all to the struggles of African diasporic history--the Middle Passage, sharecropper-era South Carolina, the Kingston of Bob Marley, whose song gives this big book its title. Dawes is at home with cityscape and seascape, patois and transatlantic tradition." --"Publishers Weekly"

" Dawes] is highly original and intelligent, possessing poetic sensibility that is rooted and sound, unshakeable and unstopped, both in its vibrancy and direction. He writes poetry as it ought to be written."--"World Literature Today"

"Dawes asserts himself as man and artist and finally, with grace achieved and grace said, sits down to begin life's tragic feast . . . a writer of major significance."--"Brag Book"

"The notion of a reggae aesthetic--of the language moving to a different rhythm, under different kinds of pressure . . . underpins all Dawes' work as poet."--Stewart Brown

Born in Ghana, raised in Jamaica, and educated in Canada, Kwame Dawes is a dynamic and electrifying poet. In this generous collection, new poems appear with the best work from fifteen previous volumes. Deeply nuanced in exploring the human condition, Dawes' poems are filled with complex emotion and consistently remind us what it means to be a global citizen.

From "The Lessons":

"Fingers can be trained to make shapes
that, pressed just right on the gleaming
keys, will make a sound that can stay
tears or cause them to flow for days.
Anyone can learn to make some music,
but not all have the heart to beat
out the tunes that will turn us inside out. . . "

Kwame Dawes is the author of fifteen collections of poetry, two novels, four anthologies, and numerous essays and plays. In 2009 he won an Emmy Award for his interactive website, LiveHopeLove.com. Since 2011 he has taught at the University of Nebraska, and lives in Lincoln, Nebraska.

Spanning more than six decades of Sudan's post-independence history, this collection features work by some of Sudan's most renowned modern poets, largely unknown in the United States. Adil Babikir's extensive introduction provides a conceptual framework to help the English reader understand the cultural context. Translated from Arabic, the collection addresses a wide range of themes-identity, love, politics, Sufism, patriotism, war, and philosophy-capturing the evolution of Sudan's modern history and cultural intersections. Modern Sudanese Poetry features voices as diverse as the country's ethnic, cultural, and natural composition. By bringing these voices together, Babikir provides a glimpse of Sudan's poetry scene as well as the country's modern history and post-independence trajectory.

In Creance; or, Comest Thou Cosmic Nazarite, Andrew Colarusso hybridizes lost and unknown spaces, taking his title from a falconry term for the cord used to restrain a bird. The word derives from the late fifteenth century, from the French creance ("faith"), also denoting a cord to retain a bird of peu de creance ("of little faith," i.e., which cannot yet be relied upon). Poems of personal narrative and metaphorical depth speak for the voices searching-in a world that lashes out or looks right past what remains tethered to the past-the parts that occupy the whispers of wanting, the dreams of finally being seen.

The poems in Dulce are at once confession and elegy that admit the speaker’s attempt and possible failure to reconcile intimacy toward another and toward the self. The collection asks: what’s the point in any of this?—meaning, what’s the use of longing beyond pleasure; what’s the use of looking for an origin if we already know the ending? Surreal and deeply imagistic, the poems map a parallel between the landscape of the border and the landscape of sexuality. Marcelo Hernandez Castillo invites the reader to confront and challenge the distinctions of borders and categories, and in doing so, he obscures and negates such divisions. He allows for the possibility of an and in a world of either/or. These poems enact a prescient anxiety of what is to come, “I want to say all of this is true / but we both know it isn’t.  . . .  We already know what’s at the other end of this.� Dulce is truly a lyrical force rife with the rich language of longing and regret that disturbs even the most serene quiet.

Tahrir Suite is a book-length poem that contemplates immigration, homeland, and diaspora in the twenty-first century. The poem, inspired by recent events in Egypt, cycles through the journey of two Egyptians moving across borders, languages, cultures, landscapes, and political systems while their life in the U.S. diaspora evolves and their home country undergoes revolutionary change.

Written from a perspective and about a place that is virtually unexplored in contemporary American poetry, "Tahrir Suite "works to capture the complicated essence of what it means to be from a specific place that is experiencing such radical change and how our understandings of "home" and "place" constantly evolve. "Tahrir Suite "is a musical meditation on what it means to be a global citizen in contemporary times.

A lyrical collection examines the quotidian beauty that surrounds us despite deep loss and climate crisis The Way of the Earth is the fourth collection from award-winning poet Matthew Shenoda. In this, his most personal collection to date, he explores the temporal and fleeting nature of human life and the earth we inhabit. Through ruminations on the intersections of culture and ecology, the death of loved ones, and the growing inequities in our midst, Shenoda explores what it means to be a person both grounded to the earth and with a yearning beyond it. Memories of landscapes and histories echo throughout the sensations of the present: the sight of egrets wading in the marshes, the smell of the ocean, a child's hand nestled in a warm palm. "Time never goes back," Shenoda writes, "but the imagination must."