From the foreword: "In Perfect Black, Crystal Wilkinson walks us back down the road she first walked as a girl, wanders us through the trees that lined the road where she grew up, where her sensibilities as a woman and a writer were first laid bare. In one of the first poems that opens the collection she is a woman looking back on her life, on the soil and mountains that first stamped the particular sound of her voice and she is deeply inquisitive about how it all fell into place: "The map of me can't be all hills& mountains even though I've been country all my life. The twang in my voice has moved downhill to the flat land a time or two." Perfect Black is a book of poems and legends about ancestry, culture, and the terrain of a Black girl becoming. It is a narrow and spacious terrain that enters the bloodstream of this black writing girl's body early. It is a country that she never truly exits even though different zip codes continue to fly through her wild, wondrous, winding life. We read and we hold on too.

Deep in the center of every tree, you'll find the heartwood. This wood is the very soul of a tree. The characters in this book by poet Nikky Finney are the heartwood of their small Kentucky communities. You'll meet Buck Jones and Mae Bennet, whose anger has twisted them up inside, Queenie Sims and Arizona Scott, who can see the good in people, and Trina Sims and Jenny Bryan, two young women who discover how much they are alike despite their different skin color. Set in rural Kentucky, this story is filled with the sights and sounds, hopes and hurts of a land and its people. Breathing with life and vitality, Heartwood moves its readers to speak out and remind the world of the goodness it so easily forgets. The characters of Heartwood lead the way for us in this beautiful story.

Love Child's Hotbed of Occasional Poetry is a twenty-first-century paean to the sterling love songs humming throughout four hundred years of black American life. National Book Award winner Nikky Finney's fifth collection contains lighthouse poems, narrative hotbeds, and treasured artifacts - copper coins struck from a new matrix for poetry, one that testifies from the witness stand and punctuates the occasional lyric within a new language of 'docu-poetry.' The ancestors arise and fly, and the black female body is the 'insurgent sensualist,' hunted but fighting to live and love in the ways it wants and knows best: "I loved being / a black girl but had not yet learned / to play dead . . ." The tenderness of a father's handwritten notes shadows the collection like a ghost, while the treasured, not-for-sale interiority of a black girl's fountainhead takes over every page. "One yellaw gal with an all-black tongue has gone missing." Finney has composed a new black spiritual, and one of the great voices of our time again stamps her singular sound into the new day.

All of the published poetry of James Baldwin, including six significant poems previously only available in a limited edition
During his lifetime (1924-1987), James Baldwin authored seven novels, as well as several plays and essay collections, which were published to wide-spread praise. These books, among them "Notes of a Native Son," " The Fire Next Time," "Giovanni's Room," and "Go Tell It on the Mountain," ""brought him well-deserved acclaim as a public intellectual and admiration as a writer. However, Baldwin's earliest writing was in poetic form, and Baldwin considered himself a poet throughout his lifetime. Nonetheless, his single book of poetry, "Jimmy's Blues," never achieved the popularity of his novels and nonfiction, and is the one and only book to fall out of print.
This new collection presents James Baldwin the poet, including all nineteen poems from "Jimmy's Blues," as well as all the poems from a limited-edition volume called "Gypsy," of which only 325 copies were ever printed and which was in production at the time of his death. Known for his relentless honesty and startlingly prophetic insights on issues of race, gender, class, and poverty, Baldwin is just as enlightening and bold in his poetry as in his famous novels and essays. The poems range from the extended dramatic narratives of "Staggerlee wonders" and "Gypsy" to the lyrical beauty of "Some days," which has been set to music and interpreted by such acclaimed artists as Audra McDonald. Nikky Finney's introductory essay reveals the importance, relevance, and rich rewards of these little-known works. Baldwin's many devotees will find much to celebrate in these pages.

From the foreword: "In Perfect Black, Crystal Wilkinson walks us back down the road she first walked as a girl, wanders us through the trees that lined the road where she grew up, where her sensibilities as a woman and a writer were first laid bare. In one of the first poems that opens the collection she is a woman looking back on her life, on the soil and mountains that first stamped the particular sound of her voice and she is deeply inquisitive about how it all fell into place: "The map of me can't be all hills& mountains even though I've been country all my life. The twang in my voice has moved downhill to the flat land a time or two." Perfect Black is a book of poems and legends about ancestry, culture, and the terrain of a Black girl becoming. It is a narrow and spacious terrain that enters the bloodstream of this black writing girl's body early. It is a country that she never truly exits even though different zip codes continue to fly through her wild, wondrous, winding life. We read and we hold on too.

Margaret Walker became the first African American to win a national literary award when her collection For My People was chosen for the Yale Series of Younger Poets in 1942. Over the next fifty years she enriched American literature in endless ways through her writings and, in 1993, she received an American Book Award for Lifetime Achievement. This Is My Century is Walker's own defining summation of her career. Selected by the author herself, the one hundred poems include thirty-seven previously uncollected pieces and the entire contents of three hard-to-find volumes: the award-winning For My People (1942), Prophets for a New Day (1970), and October Journey (1975).

Winner of 2011 National Book Award for Poetry
Winner of 2012 GLCS Award for Poetry
Winner of 2012 SIBA Book Award for Poetry
Nominee for 2012 NAACP Image Award for Outstanding Literary Work in Poetry
The poems in Nikky Finney's breathtaking new collection "Head Off & Split "sustain a sensitive and intense dialogue with emblematic figures and events in African American life: from civil rights matriarch Rosa Parks to former secretary of state Condoleezza Rice, from a brazen girl strung out on lightning to a terrified woman abandoned on a rooftop during Hurricane Katrina. Finney's poetic voice is defined by an intimacy that holds a soft yet exacting eye on the erotic, on uncanny political and family events, like her mother's wedding waltz with South Carolina senator Strom Thurmond, and then again on the heartbreaking hilarity of an American president's final State of the Union address.

Artful and intense, Finney's poems ask us to be mindful of what we fraction, fragment, cut off, dice, dishonor, or throw away, powerfully evoking both the lawless and the sublime.

" Deep in the center of every tree, you'll find the heartwood. The characters in this new book by poet Nikky Finney are the heartwood of their small Kentucky communities. You'll meet Buck Jones and Mae Bennet, whose anger has twisted them up inside, Queenie Sims and Arizona Scott, who can see the good in people, and Trina Sims and Jenny Bryan, two young women who discover how much they are alike despite their different skin color.

A New York Times best-selling author of eleven novels and memoirs, Pat Conroy is one of America's most beloved storytellers and a writer as synonymous with the South Carolina lowcountry as pluff mud or the Palmetto tree. As Conroy's writings have been rooted in autobiography more often than not, his readers have come to know and appreciate much about the once-secret dark familial history that has shaped Conroy's life and work. Conversations with the Conroys opens further the discussion of the Conroy family through five revealing interviews conducted in 2014 with Pat Conroy and four of his six siblings: brothers Mike, Jim, and Tim and sister Kathy. In confessional and often comic dialogs, the Conroys openly discuss the perils of being raised by their larger-than-life parents, USMC fighter pilot Col. Don Conroy (the Great Santini) and southern belle Peggy Conroy (nee Peek); the complexities of having their history of abuse made public by Pat's books; the tragic death of their youngest brother, Tom; the chasm between them and their sister Carol Ann; and the healing, redemptive embrace they have come to find over time in one another. With good humor and often-striking candor, these interviews capture the Conroys as authentic and indeed proud South Carolinians, not always at ease with their place in literary lore, but nonetheless deeply supportive of Pat in his life and writing. Edited and introduced by the Palmetto State's preeminent historian, Walter Edgar, Conversations with the Conroys includes the first publications of Pat Conroy's interview with Edgar as the keynote address of the 2014 One Book, One Columbia citywide ""big read"" program, the unprecedented interview with the Conroy siblings for SCETV Radio's Walter Edgar's Journal, the resulting live Conroy Family Roundtable held at the 2014 South Carolina Book Festival, and a recent interview in Charleston following Pat Conroy's induction into the Citadel's Athletics Hall of Fame. This collection is augmented with an afterword from National Book Award-winning poet Nikky Finney and nearly fifty photographs, many from the Pat Conroy Archive in the Irvin Department of Rare Books and Special Collections, University of South Carolina Libraries, and published here for the first time. Through the resulting treasure trove of text and images, this volume is as much a keepsake for Conroy's legion of devoted fans as it is a wealth of insider information to broaden the understanding of readers and researchers alike of the idiosyncratic world of Pat Conroy and his family.

As the title implies, this beautifully written collection bursts with stories reminiscent of blackberries----small, succulent morsels that are inviting and sweet, yet sometimes bitter. Crystal Wilkinson provides an almost voyeuristic glimpse into the lives of her characters: Two misfit teenagers seek stolen moments of love and acceptance in the cloak of night ("Hushed"); a woman spends every waking hour obsessed with dying yet ironically watching her loved ones pass away before her ("Waiting on the Reaper"); a wife confronts her husband's mistress in a diner over potato skins and cornbread ("Need"); and a pious young woman's torment erupt in a violent and unsuspecting resolution ("No Ugly Ways"). The stories in this award-winning collection are terse and transient, like snippets taken from random dreams, thoughts, or conversations. Wilkinson is able to embed a vibrancy into each stunningly descriptive and evocative tale. Infused with humor, sadness and honesty, this provocative and haunting work features a new foreword and a new afterword by nationally acclaimed authors Nikky Finney and Honoree Jeffers.

Found Anew is an anthology of new poetry and prose from writers with strong ties to the Palmetto State that creatively engages with historical photographs found in the digital collections of the University of South Carolina's South Caroliniana Library. In their eclectic approach to ekphrasis--textual response to the visual--editors R. Mac Jones and Ray McManus have recruited an impressive group of poets and fiction writers, including National Book Award-winning poets Terrance Hayes and Nikky Finney (who provides the foreword); their fellow South Carolina Academy of Authors honorees Gilbert Allen, John Lane, Bret Lott, George Singleton, and Marjory Wentworth; Lillian Smith Award-winner Pam Durban, and others. These thirty-one pairings of archival images with original creative responses illustrate the breadth and richness of the diverse talents of South Carolina writers. While the digital collections are a much-valued resource for researchers and educators, Found Anew encourages a wider use as a source of inspiration for writers and artists inventing narratives set in and about South Carolina. In coupling the poems and short stories with the images that inspired them, the anthology shows writers gauging unlikely depths in curious photographs that other eyes might pass over without a second glance, conjuring perfect words for the emotion evoked by a particular image, and rendering and reimagining the visual in seemingly disparate but ultimately linked narratives. An instructive model for active, collaborative engagement between creative writers and culturally significant visual prompts, this collection also serves to demonstrate the accessibility and scope of archival photography available through South Caroliniana's digital collections. Through these creative responses, the images are not recovered or explained--but, rather, Found Anew.

Found Anew is an anthology of new poetry and prose from writers with strong ties to the Palmetto State that creatively engages with historical photographs found in the digital collections of the University of South Carolina's South Caroliniana Library. In their eclectic approach to ekphrasis -textual response to the visual- editors R. Mac Jones and Ray McManus have recruited an impressive group of poets and fiction writers, including National Book Award-winning poets Terrance Hayes and Nikky Finney (who provides the foreword); their fellow South Carolina Academy of Authors honourees Gilbert Allen, John Lane, Bret Lott, George Singleton, and Marjory Wentworth; Lillian Smith Award-winner Pam Durban, and others. These thirty-one pairings of archival images with original creative responses illustrate the breadth and richness of the diverse talents of South Carolina writers. While the digital collections are a much-valued resource for researchers and educators, Found Anew encourages a wider use as a source of inspiration for writers and artists inventing narratives set in and about South Carolina. In coupling the poems and short stories with the images that inspired them, the anthology shows writers gauging unlikely depths in curious photographs that other eyes might pass over without a second glance, conjuring perfect words for the emotion evoked by a particular image, and rendering and reimagining the visual in seemingly disparate but ultimately linked narratives. An instructive model for active, collaborative engagement between creative writers and culturally significant visual prompts, this collection also serves to demonstrate the accessibility and scope of archival photography available through South Caroliniana's digital collections. Through these creative responses, the images are not recovered or explained--but, rather, Found Anew.

A heartfelt collection of personal stories that connect a common past and offer hope for a promising future. For many, South Carolina is a sunny vacation destination. For those who have been lucky enough to call it home, it is a source of rich memories and cultural heritage. In this final volume of State of the Heart, thirtyeight nationally and regionally known writers share their personal stories about places in South Carolina that hold special meaning for them. While this is a book about place, it is ultimately about people's connections to one another, to a complex, common past, and to ongoing efforts to build a future of promise and possibility in the Palmetto State. Editor Aida Rogers groups the essays thematically, with poetry, vintage photographs, and even recipes introducing each section. She unites pieces by New York Times best-selling novelists Patti Callahan Henry, CJ Lyons, and John Jakes; USA Today best-selling mystery writer Susan Boyer; historians Walter Edgar, Orville Vernon Burton, and Bernard Powers; artist and author Mary Whyte; and cookbook authors Sallie Ann Robinson and the Lee Brothers-just to name a few. Nikky Finney, a South Carolina native and winner of the 2011 National Book Award for poetry, provides the foreword. The afterword is written by Cassandra King, author of six novels, including the New York Times best seller The Sunday Wife.

A heartfelt collection of personal stories that connect a common past and offer hope for a promising future. For many, South Carolina is a sunny vacation destination. For those who have been lucky enough to call it home, it is a source of rich memories and cultural heritage. In this final volume of State of the Heart, thirtyeight nationally and regionally known writers share their personal stories about places in South Carolina that hold special meaning for them. While this is a book about place, it is ultimately about people's connections to one another, to a complex, common past, and to ongoing efforts to build a future of promise and possibility in the Palmetto State. Editor Aida Rogers groups the essays thematically, with poetry, vintage photographs, and even recipes introducing each section. She unites pieces by New York Times best-selling novelists Patti Callahan Henry, CJ Lyons, and John Jakes; USA Today best-selling mystery writer Susan Boyer; historians Walter Edgar, Orville Vernon Burton, and Bernard Powers; artist and author Mary Whyte; and cookbook authors Sallie Ann Robinson and the Lee Brothers-just to name a few. Nikky Finney, a South Carolina native and winner of the 2011 National Book Award for poetry, provides the foreword. The afterword is written by Cassandra King, author of six novels, including the New York Times best seller The Sunday Wife.

"My Dear Boy" brings a largely unexplored dimension of Langston Hughes to light. Carmaletta Williams and John Edgar Tidwell explain that scholars have neglected the vital role that correspondence between Carrie Hughes and her son Langston--Harlem Renaissance icon, renowned poet, playwright, fiction writer, autobiographer, and essayist--played in his work.
The more than 120 heretofore unexamined letters presented here are a veritable treasure trove of insights into the relationship between mother Carrie and her renowned son Langston. Until now, a scholarly consensus had begun to emerge, accepting the idea of their lives and his art as simple and transparent. But as Williams and Tidwell argue, this correspondence is precisely where scholars should start in order to understand the underlying complexity in Carrie and Langston's relationship. By employing Family Systems Theory for the first time in Hughes scholarship, they demonstrate that it is an essential heuristic for analyzing the Hughes family and its influence on his work. The study takes the critical truism about Langston's reticence to reveal his inner self and shows how his responses to Carrie were usually not in return letters but, instead, in his created art. Thus "My Dear Boy" reveals the difficult negotiations between family and art that Langston engaged in as he attempted to sustain an elusive but enduring artistic reputation.

Using the character of J. Robert Oppenheimer, the "father of the atomic bomb," as a jumpingoff point, "The Cloud That Contained the Lightning" explores the kinds of ethical choices we face as individuals and as a society with respect to the innovations and inventions we pursue. How are our fears, obsessions, prejudices, and cultures manifested in the ways we apply new technologies, such as the splitting of the atom? What were the attitudes that resulted in such a destructive invention? What prompted it to be used on a nation suspected to already be defeated?
By weaving together the voices of Oppenheimer, his wife and brother, hibakusha (Japanese for "explosion-affected people"), and the mythological figures of Cronos and his children, Lowen creates a dialogue out of a vacuum of communication and imagines the kind of exchanges that might have led to a different outcome than the tragedies at Hiroshima and Nagasaki. And in an exploration of our tendency for selective amnesia, this collection asks a critical question: How quickly will the forgotten lessons of the past allow us to repeat the tragic chapters of our history?