City Lights Spotlight – serie

The inaugural volume in the new Spotlight poetry series, Where Shadows Will selects from twenty years of innovative poetry by writer, painter, and translator Norma Cole. Cole has been a fixture of the Bay Area scene since 1977, writing melodic and experimental poetry whose shadow-haunted landscapes embody an exploration of the relationship between language, self, and world. Cole was a member of the circle of poets around Robert Duncan and a fellow traveler of the language poets. Drawing on long out-of-print volumes and recent books-such as her acclaimed Spinoza in Her Youth (2002)-Where Shadows Will confirms Cole's place as a major avant-garde poet and a leading voice among contemporary women writers.

The second volume of our City Lights Spotlight Poetry series, Free Cell is the latest book of poems from New York-based poet Anselm Berrigan, one of the most influential American poets under the age of forty. In a departure from his previous work, Free Cell consists of two experimental suites, "Have a Good One" and "To Hell with Sleep," connected by a central poem. The former director of St. Mark's Poetry Project, Anselm Berrigan is the son of poets Ted Berrigan and Alice Notley. He is the poetry editor of The Brooklyn Rail and the co-editor of The Collected Poems of Ted Berrigan.

Since his post-9/11 essay "The Emergency," Andrew Joron has been regarded as one of American poetry's most profound practitioners. Trance Archive draws on over twenty years of Joron's work, from his early science fiction poetry to his later fusion of surrealist romanticism and avant-garde materialism, into what he calls "speculative lyric." Infused with radical politics, Joron's poetry takes inspiration from chaos and complexity theory, and reflects personal associations ranging from anarchist philosopher Paul Feyerabend to surrealist mystic Philip Lamantia. The third volume in our vbrant Spotlight series, Trance Archive affirms Joron's place among major contemporary poets.

The fourth installment of our Spotlight poetry series, Stranger in Town is the second full-length collection by San Francisco poet Cedar Sigo. Reflecting queer identity while eschewing all cliches, Stranger exudes an urban mysticism redolent of the SF Renaissance--particularly John Weiners--as it collages the fragmented experiences of contemporary culture. Born in 1978 on the Suquamish Indian Reservation in Washington state, Cedar Sigo studied at Naropa under Anne Waldman and Lisa Jarnot. His first book, Selected Writings (2003), was reprinted in a revised edition in 2005. A writer on art, literature, and film, Sigo recently blogged for SFMOMA's Open Space.

The fifth volume of our Spotlight poetry series, Compression & Purity is a new collection of poetry by Los Angeles--based African American surrealist Will Alexander. Known for densely textured visionary epics influenced by poets like Aime Cesaire and Cesar Vallejo, Alexander here returns to shorter forms to address his ecological, cosmological, and historical concerns. Highlights include a monologue from the perspective of "The Blood Penguin," a song by the "New Water on Mars," and Alexander's autobiographical lyric essay, "My Interior Vita," describing the evolution of his artistic consciousness through jazz and surrealism. Compression & Purity confirms Alexander's reputation among surrealism's foremost contemporary practitioners.

In the sixth publication in the City Lights Spotlight Poetry Series, Cajun poet Micah Ballard's Waifs and Strays recombines the allure, fixations, and diction of the metaphysical poets with the alert and streetwise urban fracturing and amazements instantaneous in contemporary San Francisco. With the haunted elegance of Charles Baudelaire and the handmade warmth of Semina, Waifs and Strays is a rejection of a slick and disposable culture. Born in Baton Rouge, Louisiana, Micah Ballard studied at New College of California, working with David Meltzer, Joanne Kyger, and Tom Clark. He currently co-directs the MFA in writing program at University of San Francisco. He co-edits Auguste Press.

In Nervous Device, Catherine Wagner takes inspiration from William Blake's "bounding line" to explore the poem as a body at the intersection between poet and audience. Using this as a figure for sexual, political and economic interactions, Wagner's poems shift between seductive lyricism and brash fragmentation as they negotiate the failure of human connection in the twilight of American empire. Intellectually informed, yet insistent on their objecthood, Wagner's poems express a self-conscious skepticism even as they maintain an optimistically charged eroticism."Wagner's fourth collection contains poems of memory and dark artifice. She writes with an obscure, magnetic lens. . . . Wagner contrasts these complicated poems with short, clean, pieces that offer a kind of breathing space for the reader. Not to be mistaken for trivial, the linguistic tightness of these poems are highlights of Wagner’s collection."—Publishers Weekly"Taking with one hand what they give with the other, Wagner's poems are full of vehemence and disdain and tenderness and somewhere, in some inexpugnable part of the body of language through which so many discomforting feelings pass, a thorny kind of joy. This is my idea of great poetry: in which 'The actual is / flickering a binary / between word and not-word.'"—Barry Schwabsky, Hyperallergic"Nervous Device is such a smart book. You never know where the poems are going to take you, or when some startling, often cringe-making image or thought will intrude. Unable to settle into a comfortable rhetorical space, these poems reject simple claims to knowing something or doing right or changing the world. Rather, they move like an erratic insect stuck in a language bell jar. Brilliant, and disturbing."—Jennifer Moxley"Nervous Device, the human machine, palpitating inside its own little bounding lines. These poems do everything the human device does, vibrating like an electrified tornado inside a glass jar, and make this reader profoundly alive to huge swathes of being. There is no machine for mastering the self (yet), but there are Cathy Wagner's poems."—Eleni Sikelianos"The poems in Nervous Device resonate with a knowing nod to time and the difficulty and struggle of being sentient and intimate—of loving while being human. This is poetry connectivty: sexy, poignant, knowing. And the poems here make me feel possible."—Hoa Nguyen"Wagner's poems contain multitudes, at once overflowing with seductive lyricism only to suddenly shift into brash fragmentation. She is informed, but the word subjective has no place whatsoever in her work. As the cover suggests, the potential for human connection is downright erotic for Wagner."Alexis Coe, SF Weekly"The notion that the audience is 'putting [their] finger in [her] vagina' while reading Nervous Device signals one of Wagner's primary thematic concerns in the collection: the complex relationship between poetry, sex, desire, and the body."—Joshua Ware"Wagner is to be lauded, first and foremost, for her daring, her conceptual eclecticism, and her linguistic range. . . . Nervous Device is a clear-eyed and brave testament to the changing currents of a poet's life."—Seth Abramson, The Huffington Post" . . . the manner in which Wagner structures the language through repetitive dialogue both builds meaning and breaks it apart. . . . Wagner balances disjunction and lucidity, private and public, distant and (riskily) up-close."—Jessica Comola, HTML Giant

Inspired by Ovid's instructional Ars Amatoria, with overtones of Renaissance sonnet cycles, Advice for Lovers is a highly wrought volume of poems. Intricately formal but saucy and contemporary in diction, Advice for Lovers walks a fine line between the anything-goes orthography of the Elizabethans and the shifting etymologies of James Joyce. Sexy, kinky, disquieting, Advice for Lovers blazes an erotic trail into the twenty-first century. "What if I'm spirited away to live in a torch song?--Where the landscape is a lover's discourse? Julian Talamantez Brolaski has me in thrall! In this enchanting book, Julian jacks up the artifice and jacks up the feeling." --Robert Gluck "Advice for Lovers is the type of book that makes you see language with fresh eyes, challenging you toward something fiercer and more honest yet. It leaves you bruised and aching to be bruised again, and isn't that what you were asking for after all?" --The Rumpus Author of gowanus atropolis (2011) and editor at Aufgabe and Litmus Press, Julian Talamantez Brolaski studied with Nathaniel Mackey, Elizabeth Willis, and Robert Hass.Xe rejects gendered pronouns and lives in Brooklyn, New York, and teaches at The New School.

Inspired by the Beats, Black Mountain, and the New York School, Lisa Jarnot emerged in the 1990s as one of the foremost poets of the post-Language avant-garde. Joie de Vivre draws on twenty years of work, from the bold fragmentation of her mixed media debut, Some Other Kind of Mission, to the experimental lyricism of her recent Night Scenes. Following the poet's evolution through her engagements with form and music, Joie de Vivre showcases Jarnot's restless virtuosity and relentless curiosity. The archaic, the surreal, the pastoral, the political--no register of language proves too recalcitrant for her expansive sense of song. Praise for Joie de Vivre: "Riveting ...Reading this work is truly a joy."--Publishers Weekly "This compilation includes the best of Jarnot's Whitmanesque reflections and Ginsbergian outcries, speech acts that list always toward an avant-garde."--Booklist "Her ideas meddle in the traditions of form, medium, sound, and arrangement to recall the modernism of Joyce and Stein ...This selection highlights her inventiveness."--Library Journal About the Author: Born in Buffalo, New York, in 1967, Lisa Jarnot studied with Robert Creeley at SUNY Buffalo and later earned an MFA at Brown University. The author of four full-length poetry collections and the former editor of the Poetry Project Newsletter, she has also just published Robert Duncan: The Ambassador From Venus (University of California Press, 2012), the definitive biography of the San Francisco poet. Since the mid-1990s, she has lived in New York City.

"Warren's first book of poems is highly self-reflective, interestingly interrogative, and a lot of fun."--Booklist Charged with swagger and sensuality, tenderness and cold fact, the 10th Spotlight series installment, Here Come the Warm Jets, is the brash debut volume by Bay Area poet Alli Warren. Taking its title from the Brian Eno classic, Jets jumbles gender, class, and space-time perspectives into a chorus of contemporary idioms and lyrical longings. Against the daunting backdrop of contemporary political-economy, Warren launches her missives of desire, in writing that is at once raw and sly. From the Bishop of Worms to Flipper to E-40, nobody's safe from the easy virtuosity with which she makes language sing. The collection is a finalist for the 2014 California Book Award. About the Spotlights Series: City Lights Spotlight hopes to shine a light on the wealth of innovative American poetry being written today. We intend to publish accomplished figures known in the poetry community as well as young emerging poets, using the cultural visibility of City Lights to bring their work to a wider audience.In doing so, we also seek to draw attention to those small presses publishing such authors. As City Lights founder, Lawrence Ferlinghetti, wrote, "If you would be a poet, experiment with all manner of poetics ...to create your own limbic, your own underlying voice, your ur voice." Praise for Here Come the Warm Jets: "The 10th in City Lights' 'Spotlight Series,' poet Alli Warren's first book is anthemic, both wry and full of wonder, colloquial and lyrical and glittering with revelations. [It] upends contemporary syntax for the sake of self-expansion, moving seamlessly between edification and amused, tongue-in-cheek condemnation."--San Francisco Weekly "Here Come the Warm Jets starts by cycling through swaths of factless job-voice before pitching an unfolding exuberant doom-diction through the book's positively evil prosodic middle. Relative time, absolute time, ornery time, palpation time, and a kind of time I can't name are all in play along the way. I think Warren's end of capitalism would come with the richest planes of full life, but only the poems and their upending of the never-ending blossom hull make me think so."--Anselm Berrigan "When form and form's fiance come maundering Alli Warren will undo them both with tart prepositional gambits and the vagaries of fortune-telling and a fine poker-faced command of stagecraft itself. With nods to the congress of manners (and hat tips too to Brooks, Duncan, and others) Here Come the Warm Jets plays at neither checking nor abashing but chronicles what it just might be to be beyond the reach of any drama, any architecture. This is one heavenly book."--C. S. Giscombe "Though she may be excoriating the system, Warren has fun doing it, however, with a willingness to always go for a dirty joke ...This dead-pan tone belies the slyly crafted humor of her wordplay, which mashes up multiple registers for comic, sometimes cutting effect ...Even as Warren's poems dance away from any notion of a fixed self ...a tender undercurrent runs throughout, and the closing 'Personal Poem'--comprising a series of second-person commands--offers a roundabout glimpse into the poet's more quotidian inspirations, while offering some sage advice: 'Don't talk too much about language in mixed company.'"--American Poets Praise for Alli Warren: "[She]'s one of those poets who, once you read her work, instantly becomes a necessity."--Ron Silliman "Warren displays a serious commitment to delineating the multifarious registers of communication that collide into what we think of as culture."--Noah Eli Gordon

In the tradition of French poets like Francis Ponge, Pierre Reverdy, and Rene Char, The Tranquilized Tongue offers a series of prose meditations in the form of surrealist declaratives, each sentence unfolding like an alchemical riddle in which sounds, images, and figures appear, dissolve, and re-emerge to offer a glimpse of a complex unconscious roiling below the surface of everyday reality. Sometimes a paragraph, sometimes a sentence, occasionally just a fragment, each poem in The Tranquilized Tongue is a portal to new perspective on the everyday materials of reality as constituted through language itself. The postmodern classicism of language poetry meets the modernist romanticism of surrealism to startling effect in Baus's cabinet of curiosities. The eleventh volume of the City Lights Spotlight Poetry Series, The Tranquilized Tongue places Baus alongside such contemporary purveyors of the marvelous and speculative as Andrew Joron and Will Alexander. Eric Baus received an MFA from the University of Massachusetts at Amherst, where he studied with Peter Gizzi.Author of three previous poetry collections, including the prizewinning volumes The To Sound (2004) and The Scared Text (2011), Baus lives in Denver, Colorado, where he teaches writing and literature, works on digital audio archives of poetry, and co-edits Marcel Chapbooks. "The poems comprising The Tranquilized Tongue propose a unique blend of Persian miniature and habanero pepper. The book is aburst with unremitting predication, each poem a merciless thought machine." --Nathaniel Mackey "For over a decade now, Eric Baus has been one of the leading practitioners of a new kind of poem, one that draws as equally on the legacy of surrealism, the nouveau roman, and even the language poets, as it does on the Deep Listening practice of Pauline Oliveros, Alvin Lucier's forays into resonant sound, the films of Charles and Ray Eames, and the voiceover of Sir David Attenborough narrating our insect and animal worlds. The Tranquilized Tongue speaks to us in a music capable of condensing geologic time into that of a microtonal interval: weird, warped, a little wobble on its newly hatched legs, this is a book where the word The will follow you like a gosling."--Noah Eli Gordon "Special objects in our multiple world--from eggs to kings, from bees to caskets, from wings to statues--spawn themselves with other teeming objects in a fertile generation of aphoristic actions calmed by the clarity of prose poems framed as linked short stories. The scintillating tensions between febrile nouns, adjectival properties, and active claims all in their phonemic bliss create an elegant surrealism charged with the primary mystery of Baus's lexicon." --Rachel Blau DuPlessis Beginning with the Pocket Poets Series and the publication of Howl, City Lights has played a vital role in American poetry for over 50 years. City Lights Spotlight shines a light on the wealth of innovative American poetry being written today, publishing accomplished figures known in the poetry community as well as young emerging poets, using the cultural visibility of City Lights to bring their work to a wider audience. In doing so, we also seek to draw attention to those small presses publishing such authors. As City Lights founder, Lawrence Ferlinghetti, wrote in his recent Poetry as Insurgent Art, "If you would be a poet, experiment with all manner of poetics ...to create your own limbic, your own underlying voice, your ur voice." With City Lights Spotlight, we seek to maintain this standard of innovation and inclusiveness, publishing highly original poetry from across the cultural spectrum, and reaffirming our longstanding commitment to this most ancient and stubbornly enduring form of art.

Combining a bent lyric perception with a fragmentation redolent of French cubism, Coletti portrays contemporary urban experience, from power relations and personal loss to nights among city dwellers recording their convivial distress, glad and dissolute at once. Part teddy bear fleeing the cultish outlines of the American northwest, part Apollinaire in Brooklyn, Coletti culls his materials from the ether and assembles them into resonant structures at once intensely personal and strangely universal--a little outrageous--both confusingly lovely and apt in their ungainliness. Lines like "I'm nearly home is what everyone says" and "triceratops & the bad glue / that made us good friends," only begin to demonstrate the astute linguistic eye and deft line break sense of John Coletti. Praise for Deep Code: "A sonic surrealist typewriter clacks in rhythm across Colletti's brow. Read it in his sweet-eye glance: poetry grams of tender touch. Tuff cookie meat! & mystery. Shit is electric wire awesome stuff."----Thurston Moore "In Deep Code, we walk hand-in-hand with a street smart and tenderhearted city boy who, wanting "ALLLLLLL the experience", is immersed and so immerses the reader in contemporary cacophonies where "things collide" at a pace both expansive and measured. John Coletti expertly props our ears to what's striking and dare I say beautiful in the terrifying realities of this world. This book is "at ease / with not being at ease" and that, for me, is a guidepost. Reading Deep Code is like eating some kind of perfected pop rocks--all the colorful action, and just as true, but without the saccharine hangover."--Alli Warren "Deep code is a theory of expressive subterfuge performed as piecemeal continuities. Its poems are distressed & fine like all the chances we forget we're free to make for one another, edged to mellow like the contours of a party felt in general & intimate perception."--Dana Ward About the Author: John Coletti is the author of the book Mum Halo (2010) and the chapbooks Same Enemy Rainbow (2008) and Physical Kind (2005). With Anselm Berrigan, he is the author of the limited edition Skasers (2012).He has served as editor of The Poetry Project Newsletter and co-edits Open 24 Hours Press. Other projects include a collaborative print with artist Kiki Smith, a chapbook collaboration with Shana Moulton, and a libretto for Excelsior, an opera composed by Caleb Burhans commissioned by Chicago's Fifth House Ensemble which premiered in 2013.

"Elaine Kahn's poems touch me somewhere deep."--Kim Gordon In Women in Public, the debut full-length collection by poet/musician Elaine Kahn, personal philosophies and collective admissions are put through the corporeal grinder, harnessing the sensual as a medium for the cerebral in order to negotiate the "feminine condition" of being simultaneously othered and consumed. By turns seductive and self-deprecating, Women in Public navigates a world where the erotics of the body and mind do battle against the constructs that would demean and define them, using lyric, fragment, humor, and repetition to create a space flexible enough to hold the many contradictions of reality. Where expectations and desires can be piled too easily upon the body, Kahn digs in her heels, writing in attempt to liberate physical form from society's confines. Praise for Women in Public: "'Do you think that you are greater than a mom?' This is an intensely honest, honestly intense poetry. Humorous, carnal, accusatory, celebratory----Women in Public tells me to get lost so I do. When I find myself later, I'm re-reading Women in Public."----Rod Smith "In these exhilarating poems, Elaine Kahn shoots from the groin, championing a ferociousness that rages against asperity while playfully seducing the reader to misbehave. Hers is a realm where oceans beat against genitals, and Hannah Wilke warms the earth. I don't want to let go of Women in Public for I want its boldness all to myself."----Dodie Bellamy About the Author: Musician, poet, artist, Elaine Kahn was born in Evanston, Illinois and is currently based in Oakland, California. She received an MFA from the Iowa Writers' Workshop and a BA from California College of the Arts. Kahn is the author of three poetry chapbooks, A Voluptuous Dream During an Eclipse (2012), Customer (2010), and Radiant Bottle Caps (2008), and is a contributor to Art Papers. Her music project, Horsebladder, has toured widely throughout the U.S. and Canada. She is also co-founder of the feminist puppet troop P. Splash Collective and managing editor of the small press Flowers & Cream.

The third full-length collection by Julien Poirier, Out of Print is a truly bicoastal volume, reflecting the poet's years in New York as well as his return to his Bay Area roots. Consider it a meetinghouse between late New York School and contemporary California surrealism, a series of quips intercepted from America's underground poetry telegraph, or an absurdist mirror held up to consumerist culture. "Welcome Julien Poirier! What a distinct inspired voice. His work is abundant in surprise. His musical,often bonkers play of language is, for me, a source of delight & revelation."--David Meltzer "Julien Poirier's poems calibrate the vernacular in a sublime mathematics of commonalities. The effect is that of feelings on the run, enunciated clearly. In a sudden down-draught-'You're wind, you melt on my tongue'-he'll take the contemporary love poem into new stretches of believability while knowingly calling to account the failings that, whether perennial or merely topical, hem round ourselves to disastrous effect.For, no mistake, Out of Print means business: a forceful wake-up call, allowing as how for this old world the time for meaningful action may well have run out and we've joined the fabled damned, lost but for such eloquence, affection, and mad, mad laughter in Hell's despite."-Bill Berkson "Out of Print's unexpectedly a love poem, its humor sharpening into dissonant pleasure. And what a pleasure! Julien Poirier's weirdly direct and directly weird poems notice what an event is, whether it's four square monks in a Coupe de Ville or becoming the Invisible Hand, and render that event into a sensual and searching landscape. You are really there, no where, but there, in poetry as a means to think differently, and maybe, absurdly, hope."--Karen Weiser Julien Poirier is the co-founder of Ugly Duckling Presse. He has taught poetry in New York City and San Francisco public schools and at San Quentin State Prison. Previous books include Way Too West (2015) and El Golpe Chileno (2010).

Cruel Futures is a witchy confessional and wildly imagistic volume that examines subjects as divergent as Alzheimers, Medusa, mumblecore, and mental illness in sharp-witted, taut poems dense with song. Chronicling life on an endangered planet, in a country on the precipice of profound change compelled by a media machine that produces our realities, the book is a high-energy analysis of popular culture, as well as an exploration of the many social roles that women occupy as mother, daughter, lover, and the resulting struggle to maintain personhood—all in a late capitalist America.Praise for Cruel Futures:"Giménez Smith seeks release from the pressures of societal expectations in this collection of brief yet powerful poems. … Giménez Smith’s crisp lyrics and imagery highlight ever-present threats to female personhood and autonomy."—Publishers Weekly"Cruel Futures is one of those rare books, rare pieces of art, that manages to be extremely intimate, vulnerable and close while also doing a kind of searing cultural critique. The poems can be tender or ironic, and sometimes a blending of the two, which is not easy."—Ross Gay"In the body, through the lyric, and twitching with every sense of the word 'nerve,' this book sings a mongrel nation into and across its cruel futures. Like Neruda in his Plenos Poderes/Full Powers, Giménez Smith has all the mastery she needs to cast a cold eye on her positioning, and ours. In this way Cruel Futures is an autobiography that won't stay in its genre or premise, caring less to author a self than to follow turns of magic in words that might soothe our 'collisions with the living.'"—Farid Matuk"Declamatory anthems to no nation, these songs stride as they deal and wheel with skin and kin: history, catastrophe, the body, love. 'Upturned and defiant, all types of shade, no outskirt, / vital like a saint,' the poems in Cruel Futures shimmer with Giménez Smith’s lyric attention: full of grit, sharp and knowing."—Hoa Nguyen

A scion of the New York School, Edmund Berrigan grew up in and around poetry. More Gone, number 18 in the Spotlight Poetry Series, is his first full-length collection in a decade, as well as the first to follow-up to his well-received memoir Can It!Written in a distinctive mix of New York quotidian and post-Language abstraction, More Gone documents the poet’s search for domestic tranquility amidst the city that never sleeps. Berrigan draws on a variety of materials, from songs to found language, assembling them into poems of oblique humor and wry perspective on the challenges of everyday existence. These poems aren’t anecdotes or confessions so much as objects in their own right, even as they remain rooted in a recognizable urban landscape: “Mostly, the city is begging for love, grieving, / or telling us to back the fuck off.”"In More Gone, Eddie Berrigan shows so much writing savvy it has long sleeves, on which he wears his heart. There are poems with strategic non sequiturs which yield an inherent logic that convinces and leads to unfamiliar perceptions. There are multi-line riffs during which he works the count, throwing three or four different pitches. The last will look like a fastball, but it's a slider, low and away, and down you go. In simpler compositions he redirects you with subtle shifts of time and context. He includes himself, which gives a poem its worth. A vulnerable and movingly confident self. He impresses with deep impressions."—John Godfrey"The language employed in Edmund Berrigan's More Gone infuses itself on the lateral plane, variegated as it is by glints from particulars that rely 'on sensory input to motion.' He teases beauty out of terminus via tenuous electrification. One feels clarity evince itself through an opaque psychic transparency, a transparency that magically filters lingual seepage. Thus, our consciousness is marked by an incremental elevation providing us with an experience of language that engages our capacity to cast greater light on the stark complexity that we optically imbibe as daily reality."—Will Alexander"Edmund Berrigan's poems may be 'more gone,' but they are also more here. 'Anxious, patient and sentient,' they happen at an intimate core of self, family, community, and world, webbing out in all our neighboring shades and activities of being, where experience glitches and knits. They are rollercoastery, beautiful, knowing, revelatory, and real."—Eleni Sikelianos

Queer pastoral lyrics take on the romantic sublime in a stunningly assured debut collection.Sophia Dahlin’s first full-length collection, Natch, is a dazzling array of queer erotic lyrics demanding pasture in the romantic sublime. By turns dreamy, hysterical, earthy, and perverse, the poems of Natch speak the dialogue of a person’s parts, the dynamism of a queer body desiring something between rest and consumption. In her stunningly assured voice, compounded of bravado and vulnerability, Dahlin outlines the threshold where feeling takes over the body’s functioning, desire leads us past deciding, and we are so lustful that we are not dead when we have finished dying.“Sophia Dahlin’s witty, searching, and multi-humored poems are astute and forthright in their light/dark erotics. With the buoyancy that Natch suggests, this is also serious stuff. Refusing default logics, ingenious poetic powers are at play in these pages.”—Joan Retallack, author of BOSCH'D"The thinking in Sophia Dahlin's poems is thrillingly unforeseeable, the turns of phrase are addictively unique, and the poems as wholes will leave most of the other things you read tasting awfully bland by comparison. This is poetry written at the pitch of a brilliant mind, expressed with rare lucidity."—Kit Schluter, author of Pierrot's Fingernails"Natch is poetry gold-plated with queer love and lust. Sophia Dahlin resists the rigid binary of top v. bottom and instead renders a switchy lyricism that perverts all things pastoral in embrace of queer slipperiness. Give Natch the summer sweat and oozing attention it deserves."—Andrea Abi-Karam, author of EXTRATRANSMISSION

From acclaimed Nigeria-born, Brooklyn-based poet Uche Nduka, a book of love poems written with compact elegance and vivid eroticism.Facing You is a collection of love lyrics, as well as an exploration of what goes into making the public and private self, from acclaimed Nigerian American poet Uche Nduka. Passionate and erotic, Facing You resists being hermetically sealed within the relationship, and is subject to the intrusions of “the dubious world”: war, exile, protest, and police violence intrude but cannot defeat Nduka’s expressions of desire, where reality and surreality are one."For decades, Uche Nduka’s refulgent poetry has shone out amid the various national and cultural contexts in which he has found himself, from Nigeria to Germany to Brooklyn. The brief poems of Facing You showcase Nduka at his most iconic. Casual and elemental, Surreal and Blue, these poems are like fuses: exactly equal to their tasks. Facing You proves the pliant strength of the lyric, its ability, in a handful of blunt and turning lines, to reverse reality with the ease of an upraised mirror. Nduka’s poetry models the principle of agile, flamelike survival amid this most leaden of worlds."—Joyelle McSweeney"Uche Nduka’s lyrical abstractions are razor sharp and lighting fast. Each poem turns several corners in the blink of an eye. A Nigerian-American poet by way of Germany and Holland, Nduka has honed his genius on the whetting stones of a tri-continental cosmopolitanism. His voice is both courtly and sensual, and his poems as frankly sexual as they are defiantly explosive. Like Rimbaud, Nduka sings the pride of exile, the debauchery of imagination, with wile and wit. We are lucky to have him."—Kit Robinson"It’s not enough to be in love. These poems want to lose themselves in you. In Facing You, Uche Nduka conjures up the kind of romance that ends up in movies and songs––a love so strong you dissolve into your lover. At the same time, Nduka’s short and leaping phrases play hard to get. Just when you think you might be closer to making contact, he pivots, leaving you to feel like a rug has been pulled out from under you. What do we make of this push-and-pull dynamic from a speaker who says, 'I need a hell of a lot / of love to run my life on'? I think it means that Nduka’s poems understand how difficult intimacy is, how it can feel like chasing a dream, how it requires constant courage to overcome the fear of being hurt: 'You must have the guts / to tear absence apart.' It’s much easier to run away. Facing You lives in the gap between the desire for intimacy and intimacy itself, the exact place where meaning-making both comes to be and breaks down. It holds us suspended between language and sense, speech-sounds and communication, where we can feel the full brunt of our yearning."—Anaïs Duplan

Volume 21 in the City Lights Spotlight Poetry Series: A searing indictment of anti-Black social and political violence by British Jamaican poet and leading scholar of Afro-pessimism D.S. Marriott.A book that turns Blackness into a question of reading, of inscribing and decoding Blackness in poetry, Before Whiteness ranges from medieval Beowulf to contemporary UK grime. Born in Britain but now living in the U.S., D.S. Marriott trains his analytical gaze on grim American subjects like the Middle Passage and lynchings, yet also finds inspiration in African American poets and artists. The book ends with “Another Burning,” a mournful elegy for the victims of the 2017 Grenfell Tower fire in London and stirring rebuke of the structural racism of contemporary UK society.“In Before Whiteness, Marriott inhabits the names we remember, such as Lester Young and Dambudzo Marechera, and victims of the Grenfell Tower fire, names we never knew. All of them people who have no place at the table where the Human family feasts. ‘Blackness /’ Marriott reminds us, ‘wasn’t in the language—we saw it / being evacuated / but we still inhabited / the ashes.’ These are not poems for the faint of heart, or those in need of denouncements. But with the evocative language of a wordsmith and the fearless insights of a philosopher, these poems guide us through the inner life of social death.”—Frank B. Wilderson III, author of Afropessimism“The mature poetry of the British-Caribbean poet D. S. Marriott is often possessed by a majestic full-throatedness, but Before Whiteness makes audible his more intimate tone, the sound of an approachable vulnerability. Before whiteness comes infancy, a time before language and the impingement of the white world, but this writing also stands in the face of whiteness, can stand against whiteness. Its words may be placed on white ground, the long history of English verse, but also are hauled from a dense Black record of suffering, resistance and joy. … Only a great poet’s writing can be at once so rich with echoes, so exacting in its thought, and so emotionally open.”—John Wilkinson, author of My Reef My Manifest Array and Lyric in Its Times