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  The Carrying - Poems

  Ada Limón

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  WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD 
  FINALIST FOR THE PEN/JEAN STEIN BOOK AWARD 
  From U.S. Poet Laureate Ada Limón comes The Carrying—her most powerful collection yet. 
  Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.” 
  In Bright Dead Things, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.

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  Letters to My Dead Name - Poems

  Richelle Lee Slota

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  Richard struggled for much of his life with a mystery. Why was he uneasy and uncomfortable? Why did he feel like an imposter? In his sixties, he made a discovery that would change his life and his creative work. He realized that his life as a man did not fit with who he knew himself to be. He began the journey of transition that led him to emerge in his San Francisco community as "Richelle Lee," leaving "Richard" behind. 
  This powerful book of poems by Richelle is a magnificent collection of metrical poetry that gifts the reader with honest passion and delightful good humor. Richelle Lee Slota's poems open themselves to the world in private and public "letters" that dare to test a society full of hate and division. These letters/poems are stronger than the terror and rejection the writer faces. The beauty of her rhythm and her emotional honesty--and Richelle's dazzling technical energy--reach out to anyone seeking optimism and hope and provide nourishment. "Catch the cis-brained psyches' sober iambs/write, thrumming clever like a cleaver transgender tie-ins," Richelle writes. See the gifted person who has discarded her dead name and be captivated, enlarged, and changed by this writer of unique and moving poetry, who courageously signs her new name to every poem.

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  The Cry of the Children

  Elizabeth Barrett Browning

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  Do ye hear the children weeping, O my brothers, 
        Ere the sorrow comes with years ? 
  They are leaning their young heads against their mothers, — 
        And that cannot stop their tears.

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  I Done Clicked My Heels Three...

  Taylor Byas

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  Inspired by The Wiz, this debut, full-length poetry collection celebrates South Side Chicago and a Black woman's quest for self-discovery—one that pulls her away from the safety of home and into her power 
   
   
   
  I Done Clicked My Heels Three Times takes its inspiration and concept from the cult classic film The Wiz to explore a Black woman's journey out of the South Side of Chicago and into adulthood. The narrative arc of The Wiz—a tumultuous departure from home, trials designed to reveal new things about the self, and the eventual return home—serves as a loose trajectory for this collection, pulling listeners through an abandoned barn, a Wendy's drive-thru, a Beyoncé video, Grandma's house, Sunday service, and the corner store. At every stop, the speaker is made to confront her womanhood, her sexuality, the visibility of her body, alcoholism in her family, and various ways in which narratives are imposed on her. 
   
   
   
  Subverting monolithic ideas about the South Side of Chicago, and re-casting the city as a living, breathing entity, I Done Clicked My Heels Three Times spans sestinas, sonnets, free-verse, and erasures, all to reimagine the concept of home. Chicago isn't just a city, but a teacher, a lingering shadow, a way of seeing the world.

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  Poems From The Chinese - A...

  Arthur Waley

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  These are called ''' Poems from the Chinese"" and we have Mr. Waley's assurance that there are in existence Oriental originals. But if it be so (and, of course it is) then we have here a literary miracle. It is a platitude that translation of poetry is either bad verse or bad translation. But Mr. Waley, translating not merely from one language into another, but almost from one planet into another, has produced a body of living poetry, in which there is every reason to believe he re-creates, without distorting, the Chinese poets. This is an unparalleled feat. But as we are, with about six exceptions in the whole of Great Britain, incapable of comparing the English and the Chinese, we must address ourselves to these poems as though they had been written by an Englishman of the twentieth century, and judge them on that basis. It is a severe test to apply to translations, but Mr. Waley emerges from it serenely victorious. Indeed, serenity is the keynote of all this work—the serenity of assured mastery in a difficult medium but still more of outlook. The beauty with which these poems are. inlaid is fundamentally a wise beauty and the wisdom is as much in the shape of Mr. Waley's mind as in that of China. There is no need to hurry here. Wisdom goes at an even pace, and has time between her penetrations of the stars to observe the smallest things of life. Her leisurely glance sweeps over them with patient gold, and they settle, almost without a sigh, into decoration and into pattern. We have lost {and the Chinese have lost) the secret of their enamels of the great periods. But Mr. Waley has private access to them, and his poems, varnished with just that cool and even certainty of paint and texture, achieve one filial translation— the translation of colour into speech. -- Humbert Wolfe.

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  Mrs Warren's Profession

  Bernard Shaw

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  'I am my mother's daughter. I am like you. But my work is not your work, and my way is not your way.'
  Vivie Warren is a woman ahead of her time. Estranged from her wealthy mother, she delights in a glass of whisky and a good detective story, and is determined to carve herself a sparkling legal career in an age ruled by men.
  Her mother, however, is a part of that old patriarchal order. Exploiting it has earned Mrs. Warren a fortune and paid for her daughter's expensive education – but at what cost?
  Bernard Shaw's incendiary moral classic was written in 1893, but, after being banned by the Lord Chamberlain, didn't receive a full public production in London until 1925. This version of the play, edited and introduced by director Dominic Cooke, was produced at the Garrick Theatre in London's West End in 2025, starring real-life mother and daughter Imelda Staunton and Bessie Carter.

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