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Latest Playlist

The Summer I Got Bit

The Summer I Got Bit is the second self-published long form poem from Saint Louis writer Joss Barton. Described as an epic breakup poem, a disco death dream, and a dance for america's dead, The Summer I Got Bit charts the psychedelic grief journey of a trans woman as she processes the end of love in the midst of an authoritarian fascist death parade while dancing herself to healing under the soundtrack of radical femme disco balls. To order the collection, follow Joss @ganjacum_ on Instagram and message for details.

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Featured on November 23, 2020

There Is Still Singing in the Afterlife

“Reader, you are lucky to have the award-winning chapbook of JinJin Xu before you. These superb poems resonate with personal and cultural intimacy. JinJin Xu writes with the insight and skill of a veteran poet, a doyen, a griot. Her lines open and breathe on the page as they do in the mind and heart. There Is Still Singing in the Afterlife is inventive, linguistic, ambitious, tender, wise, brave. This fabulous chapbook may be a collector’s item someday.”


— Terrance Hayes, American Sonnets for My Past and Future Assassin

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Featured on November 19, 2020

Like Bismuth When I Enter

Like Bismuth When I Enter is an urgent undoing of sense and syntax, an epistemology of disruption, a move toward a lawlessness of language. Surrealistic or post-surrealistic, fast-paced, not quite humorous, not quite tragic, fully felt and full of oddly affective new imageries and juxtapositions, the book invites the reader to reread past, present, and future micro and macro worlds differently, disparately, and spontaneously. - Jason Magabo Perez, from an interview in Ploughshares

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Featured on November 9, 2020

Descent

The work of Descent began in 2013, when I acquired a copy of my great-great-grandfather’s diary. Robert Wallace (“Bob”) Hubert was a Captain in the Confederate Army. After his return from the Civil War, he fathered twenty children by three of his former slaves. One of those children was my great-grandmother. As I transcribed the 225-page diary, I became interested in its omissions and decided to write into the gaps. Much of what I know comes to me via Bob Hubert himself—his diary, his military records, even his grades. Thus part of the work of Descent is to imagine the life of my great-great-grandmother Peggy Hubert, a black woman silenced by history. Descent is a hybrid work of verse, prose, images, and documents that traverses centuries as the past bleeds into the present. Though the book took seven years to come into the world, the questions that drove me to begin the project in 2013 seem even more urgent now.

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