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Amidst cycles of heartbreak, trauma, and chronic pain, Love Prodigal finds strength in the natural world, motherhood, desire, and new love. 
 

Fiercely self-aware and “utterly present tense,” Traci Brimhall’s Love Prodigal lives in the messiness of starting over. As Brimhall grieves a divorce and a new diagnosis, cycles of loss, heartbreak, family trauma, and chronic illness appear. There is an urge to detach, to go numb. Yet, pain is always returned as a gift—the beautiful vulnerability of feeling. In conversation with Da Vinci, Shakespeare, and Bachelard, images of the phoenix appear throughout the collection; its metaphor promises an easy and endless cycle of rebirth—a forever life, forever alone. Brimhall rejects this idea, instead reaching for the slow, messy, and imperfect process of healing. When the body becomes a site the poet “cannot live in or leave,” she finds strength in the beauty of the natural world, in motherhood, in desire, in new love, in “a thousand small pleasures that made [her] want to live.” Told through various forms—aubades, a prose crown of sonnets, an admissions essay—Love Prodigal says yes to second (and third and fourth) chances. The heart gets bigger every time it heals. 
 

The Bearable Slant of Light asks what the burden and gift of madness brings to a family, to our world.

What can we bear and what can we lift when a beloved, when our world, is light-struck and mad? The Bearable Slant of Light documents a web of clinical assessments, medications, the terrible beauties of delusion, and the fragile gifts of darkness. Poems that reach across the history of writers and artists who fought and sometimes lost their own battles against mental illness are set against the urgencies of our anxious world and the intimate struggle of one family.

Joseph Fasano's The Last Song of the World delves into the chaos of the modern world, and searches for resilience in the face of environmental and societal devastation. Dripping with images of ancient ruins and mythological figures, these poems serve as vignettes of fatherhood, love, and desire against the backdrop of apocalyptic events.

Through the documentation of ongoing violence and natural phenomena, Fasano depicts the ever-present anxieties of parenting with concision and compassion. The Last Song of the World is a love letter to the world that could be--a world as tender as it is bold, as loving as it is brutal, as beautiful as it is horrendous.

A NEW YORK TIMES NOTABLE BOOK • "A powerful, capacious, and profound" (Ocean Vuong) new collection of poems about life in Gaza by an award-winning Palestinian poet.

You are alive
for a moment
when living people
run after you.

Barely thirty years old, Mosab Abu Toha was already a well-known poet when the current siege of Gaza began. After the Israeli army bombed and destroyed his house, pulverizing a library he had painstakingly built for community use, he and his family fled for their safety. Not for the first time in their lives. 

Somehow, amid the chaos, Abu Toha kept writing poems. These are those poems. Uncannily clear, direct, and beautifully tuned, they form one of the most astonishing works of art wrested from wartime. Here are directives for what to do in an air raid; here are lyrics about the poet’s wife, singing to his children to distract them. Huddled in the dark, Abu Toha remembers his grandfather’s oranges, his daughter’s joy in eating them. 

Moving between glimpses of life in relative peacetime and absurdist poems about surviving in a barely livable occupation, Forest of Noise invites a wide audience into an experience that defies the imagination—even as it is watched live. Abu Toha's poems introduce readers to his extended family, some of them no longer with us. This is an urgent, extraordinary, and arrestingly whimsical book. Searing and beautiful, it brings us indelible art in a time of terrible suffering.

To whom do we belong, and at what cost? Patrycja Humienik's debut poetry collection, We Contain Landscapes, is haunted by questions of desire, borders, and the illusion of national belonging. Bringing music and rich sensory detail to the page, these poems attend to the inextricable link between our bodies and the land. Over six ruminative and lush sections, they survey place and memory, both intergenerationally and through emotional bonds with other immigrant daughters.

Weaving in letters, innovative forms, and meditations on devotion, sexuality, and self-deceit, We Contain Landscapes introduces a speaker who "will not turn away from the ache of this world." For every reader who also harbors a voracious longing to encounter infinite landscapes and ways of being, this incisive collection dreams toward a more expansive idea of kinship--of becoming beloved to one another and ourselves.

The Bronx born activist and poet Roya Marsh returns with a riveting exploration of Black joy, collective action, and healing. 

what will come of what you leave behind?
do you
remember that time
you survived?

The poems in Roya Marsh’s second collection, savings time, wear their raw feeling and revolutionary forcefulness on their sleeves. Alternating between confrontation and celebration, Marsh trains her unsparing eye on the twinned subjects of Black rage and Black healing with practiced, musical intention.

In poems flitting between breathless prose and measured lyricism, Marsh contemplates the contradictions and challenges of Black life in America, tackling everything from police brutality and urban gentrification to queer identity, presidential elections, and pop culture, all while calling for a world where self-care, especially for Black women, is not just encouraged but mandated. “no one told the Black girl,” she writes, “‘see you later’ was a prayer / begging us survive our own erasure.”

As unforgettable on the page as when recited in Marsh’s legendary spoken-word performances, the poems in savings time are focused on both revolution and self-love, at once holding society accountable for its exploitation of Black life and honoring the joy of persisting nonetheless.

*A New York Times Book Review Editors’ Choice Pick*

“By turns hilarious and provocative, it’s an affecting character study and modern mythic retelling.” —Publishers Weekly, Books That Should Be on Your Radar in 2025

Part myth retelling, part character study, this sharp, visceral debut poetry collection reimagines Helen of Troy from Homer’s Iliad as a disgruntled housewife in 1990s Tennessee.

In the hills of Sparta, Tennessee, during the early nineties, Helen decides to break free from the life that stifles her: marriage, motherhood, the monotonous duties of a Southern housewife. But leaving isn’t the same thing as staying gone…

Rooted in a lush natural landscape, this stunning poetry collection explores Helen’s isolation and rebellion as her expansive personality clashes with the social rigidity of her small town. In richly layered poems with settings that range from football games to Chuck E. Cheese to the bathroom of a Motel 6, Helen enters adulthood as a disaffected homemaker grasping for agency. She marries the wrong man, gives birth to a child she is not ready to parent, and embarks on an affair that throws her life into chaos. But she never surrenders ownership of her story or her choices, insisting to the reader: “if you never owned a bone-sharp biography… / i don’t want to hear it. i want you silent. / i want you listening to me.”

Blurring the line between mythology and modernity, Helen of Troy, 1993 is an unforgettable collection that shows the Homeric Helen like she’s never been seen before.

This celebratory anthology explores human connection through forty-four poems carefully curated by the host of the internationally acclaimed Poetry Unbound podcast. 

With an observant eye, Pádraig Ó Tuama shares an enlightening meditation on each poem, revealing the ways we relate to each other, the world around us and ourselves. 

Blending humour with insight, tension with tenderness, complexity with care, this collection articulates the power of poetry itself; it illuminates aspects of the human condition, particularly the ways we are inextricably linked to each other, and provides inspiration for grounded self-reflection. 

44 Poems on Being with Each Other features a remarkable and refreshing range of exceptional poems from around the world including contributions from Wendy Cope, Constantine P. Cavafy, Chen Chen, Joy Harjo, Patricia Smith and many more. It is an anthology that will delight readers just as Pádraig’s podcast has done for millions around the world.

A landmark literary event, What Remains collects Arendt’s complete poetic oeuvre—never before published in English.

Internationally renowned as one of the twentieth century’s foremost public intellectuals, Hannah Arendt was also intensely private. Though she often acknowledged that the language of poetry—especially that of Dickinson, Goethe, and Lowell—informed her work, only a few people knew that Arendt herself wrote poems.

In fact, between 1923 and 1961, Arendt wrote seventy-four poems, many of them signposts in an otherwise unwritten autobiography. For nearly forty years after her death, these poems remained hidden among the archives of the Library of Congress, until 2011, when they were rediscovered by scholar and translator Samantha Rose Hill. Now, for the first time in English, Hill and Genese Grill present Arendt’s poems in chronological order, taking us from the zenith of the Weimar Republic to the Cold War, and from Marburg, Germany, to New York’s Upper West Side.

Throughout, Arendt uses poetry to mark moments of joy, love, loss, and reflection. In “W. B.,” written in 1942, she remembers Walter Benjamin, who died near the French-Spanish border while attempting to flee the Nazis: “Gentle whispering melodies / Sound from the darkness. / We listen so we can let go.” So, too, she reflects on mutability and transience in 1946: “I know that the houses have fallen. / We entered the world in them, wonderfully sure, that they / were more durable than ourselves.” She tries to understand her place in the world: “Ironically foolish, / I’ve forgotten nothing, / I know the emptiness, / I know the burden, / I dance, I dance / In ironic splendor.”

A gift to all readers of Arendt, this stunning, dual-language edition provides an unparalleled view into the inner sanctum of one of our most original thinkers.

Braiding together biography and criticism, Adam Plunkett challenges our understanding of Robert Frost’s life and poetic legacy in a pathbreaking new work.

By the middle of the twentieth century, Robert Frost was the best-loved poet in America. He was our nation’s bard, simple and sincere, accompanying us on wooded roads and articulating our hopes and fears. After Frost’s death, these cliches gave way to equally broad (though opposed) portraits sketched by his biographers, chief among them Lawrance Thompson. When the critic Helen Vendler reviewed Thompson’s biography, she asked whether anyone could avoid the conclusion that Frost was a “monster.”

In Love and Need: The Life of Robert Frost’s Poetry, Adam Plunkett blends biography and criticism to find the truth of Frost’s life—one that lies between the two poles of perception. Plunkett reveals a new Frost through a careful look at the poems and people he knew best, showing how the stories of his most important relationships,
heretofore partly told, mirror dominant themes of Frost’s enduring poetry: withholding and disclosure, privacy and intimacy. Not least of these relationships is the fraught, intense friendship between Frost and Thompson, the major biographer whose record of Frost Plunkett seeks to set straight.

Moving through Frost’s most important work and closest relationships with the attention to detail necessary to see familiar things anew, Plunkett offers an original interpretation of Frost’s poetry, tracing Frost’s distinctive achievement to an engagement with poetic tradition far deeper and more extensive than he ever let on. Frost invited his readers into a conversation like the one he sustained with his literary forebears, intimate and profound, yet Frost kept his private self at a remove. Here, Plunkett brings the two together—the poet and the poetry—and draws us back into conversation with America’s poet.