Asian & Pacific Islander Voices in Verse

The four Shakespeare Walis, Shweta Garg, Shashikala Assella, Sureshika Piyasena, and Ipsita Sengupta, from two different countries (India and Sri Lanka), united by their education at the same university (Jawaharlal Nehru University, New Delhi), and their love for Shakespeare (which they must have developed earlier!), have their voices even if they write on the same topics. They write on women characters (with interesting twists - one making the boy actor 'come out' as Juliet), write on the 'twisted' men (of course), write (very appealing) appropriations, and in a final section called "Shakespearewalis to Shakespeare," in a series of very funny poems, they comment on his plays, his characters, his writing, and him! - Abridged from Amazon

The Taxidermist’s Cut is a collection that centers the pressures of being a queer brown youth awakening sexually in a racist, anti-immigrant matrix. As an Indo-Caribbean, the queer-countried speaker is illegible as an “Indian” as well as an “American.” Haunted by his migration narrative, the speaker tries to make himself fit into his environment by sloughing off his skin and stretching new ones over his body. At stake here is surviving a palimpsest of violence: violences enacted upon the speaker and violences the speaker enacts upon himself through cutting. Mohabir engages with the body and the land as a series of incisions and overlays to cover the damage of memory of a South Asian brown body dealing with aggressions and joys. This is a collection of twisted love stories-as-slits that exposes the meat and bone of trauma and relief. Drawing from outside source texts such as animal tracking guides and taxidermy manuals, these poems attempt to show the process of how to survive being erased on all fronts. - Amazon

Rita Mookerjee's False Offering, while providing a trenchant critique of the oppressiveness of "white space," is also glittery, culinary sumptuous, and scythe sharp. Shot through with equal parts "nectar and venom," Mookerjee's poems pirouette with muscular grace in a kaleidoscopic whirl of myth and alchemy, gods and feasts, rot and rose gold. False Offering is a feminist ledger of "battle armor meeting ballet." Like a medieval tapestry, it is piped through with an elaborate galaxy of nightviolets, rosewater, bonedust, "snakes and shibari," origami, and the KKK. It is a rare book in that even while flipping the middle finger; it has its hands held out in tenderness to those in need." --Simone Muench, Poetry Editor, JackLeg Pres

"Moving between the scriptures of the Qur'an and the Bible, these poems explore the complexities and spectacles of gender, faith, and family by unraveling the age-old idea that seeing is believing. Navigating both scripture and culture, the poems in Theophanies work to spin miracles from the mundanities of desire and violence. Through art and music, Pakistani history, and scriptural stories, these poems struggle to envision a true self and speak back against time to the matriarchs of the larger Abrahamic faiths, the mothers at the heart of sacred history Stitched through these poems is longing-for mothers, angels, and signs from the divine. Theophanies asks: is seeing really believing, and is believing belonging? The speaker seeks to understand her own, bewildering "I," to use it with reverence, and to mythologize herself and all mothers to ensure their survival in a male-dominated world hard at work erasing them In the absence of matrilineal elders in her family, the speaker turns to the archetypal "mother of nations" for whom she is named, Sarah, and her sent-away "sister," Hajar. What does it mean to have a woman's body when that body has been hailed a vessel for the divine? Theophanies arises from the speaker's tenuous grip on her own faith while navigating the colonial legacy of Partition and inherited patriarchal expectations of womanhood"-- Provided by publisher. (Recommended by Qurrat ul ain Raza Abbas, MFA Creative Writing '26)

"Lost Horoscope is a grand poem of loss, healing and recovery in the Covid times by Himalaya poet Yuyutsu Sharma. The title poem captures, in words of American poet James Ragan, "an enlarged memory of hischildhood and his creative will to recover and rediscover what healing eternal truths lay, lost and buried in our collective unconscious decades and centuries ago."

By turns aggressively reckless and fiercely protective, always guided by faith and ancestry, Threa Almontaser's incendiary debut asks how mistranslation can be a form of self-knowledge and survival. A love letter to the country and people of Yemen, a portrait of young Muslim womanhood in New York after 9/11, and an extraordinarily composed examination of what it means to carry in the body the echoes of what came before, Almontaser's polyvocal collection sneaks artifacts to and from worlds, repurposing language and adapting to the space between cultures. Half-crunk and hungry, speakers move with the force of what cannot be contained by the limits of the American imagination, and instead invest in troublemaking and trickery, navigate imperial violence across multiple accents and anthems, and apply gang signs in henna, utilizing any means necessary to form a semblance of home. In doing so,The Wild Fox of Yemen fearlessly rides the tension between carnality and tenderness in the unruly human spirit. (Recommended by Gillian Lionberger, MFA Creative Writing '26)

""The struggle from late youth on, with and without God, agony, narcotics and love is a torment rarely recorded with such sustained eloquence and passion as you will find in this collection." -Fanny Howe. This highly-anticipated debut boldly confronts addiction and courses the strenuous path of recovery, beginning in the wilds of the mind. Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight. From "Stop Me If You've Heard This One Before": Sometimes you just have to leave whatever's real to you, you have to clomp through fields and kick the caps off all the toadstools. Sometimes you have to march all the way to Galilee or the literal foot of God himself before you realize you've already passed the place where you were supposed to die. I can no longer remember the being afraid, only that it came to an end. Kaveh Akbar is the founding editor of Divedapper. His poems appear recently or soon in The New Yorker, Poetry, APR, Tin House, PBS NewsHour, and elsewhere. He is the author of the chapbook Portrait of the Alcoholic (Sibling Rivalry). The recipient of a 2016 Ruth Lilly and Dorothy Sargent Rosenberg Fellowship from the Poetry Foundation and the Lucille Medwick Memorial Award from the Poetry Society of America, Akbar was born in Tehran, Iran, and currently lives and teaches in Florida"-- Provided by publisher. (Recommended by Qurrat ul ain Raza Abbas, MFA Creative Writing '26)

Solmaz Sharif's astonishing first book, Look, asks us to see the ongoing costs of war as the unbearable loss of human lives and also the insidious abuses against our everyday speech. In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family's and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed in America's invasions of Afghanistan and Iraq, and in the discrimination endured at the checkpoints of daily encounter. At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. 'Let it matter what we call a thing,' she writes. 'Let me look at you.'"--From Amazon.

These interrelated meditations explore the nature of the individual spirit and the individual spiritedness of the natural world. As skilled a philosopher as she is a poet, in Sea & Fog, Adnan weaves multiple sonic, theoretical, and syntactic pleasures at once. - GoodReads

"In Fugitive/Refuge, Philip Metres follows the journey of his refugee ancestors—from Lebanon to Mexico to the United States—in a vivid exploration of what it means to long for home. A book-length qasida, the collection draws on ancient poetic traditions and invents new forms—odes and arabics, sonnets and close-ups, prayers and documentary voicings, heroic couplets and homophonic translations—to confront the perils of our age: forced migration, climate change, and toxic nationalism." -from the Publisher

From one of our most acclaimed contemporary writers, an urgent and essential collection of poems illuminating the visionary presence of Palestinians. Fady Joudah's powerful sixth collection of poems opens with, "I am unfinished business," articulating the ongoing pathos of the Palestinian people. A rendering of Joudah's survivance, [...] speaks to Palestine's daily and historic erasure and insists on presence inside and outside the ancestral land. Responding to the unspeakable in real time, Joudah offers multiple ways of seeing the world through a Palestinian lens-a world filled with ordinary desires, no matter how grand or tragic the details may be--and asks their reader to be changed by them. The sequences are meditations on a carousel: the past returns as the future is foretold. But "Repetition won't guarantee wisdom," Joudah writes, demanding that we resuscitate language "before [our] wisdom is an echo." These poems of urgency and care sing powerfully through a combination of intimate clarity and great dilations of scale, sending the reader on heartrending spins through echelons of time. [...] is a wonder. Joudah reminds us "Wonder belongs to all." - Bookshop

A scholar and a librarian, Mosab Abu Toha is also a major poet whose first collection made him a talent to celebrate. After graduating from a master's program at Syracuse, he returned home to complete his second work. Then the current assault on Gaza began. When 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. Remarkably, amid the chaos, Abu Toha kept writing poems. Uncannily clear, direct, and beautifully tuned, this collection forms one of the most astonishing works of art wrested from wartime. Here are directives for what to do during an air raid and lyrics about the poet's wife, who sings to their children to distract them. Huddled in the dark with his family, Abu Toha remembers his grandfather's oranges, and 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 people are watching the crisis in real time. Abu Toha's poems introduce readers to his extended family, some of whom are no longer with us. This extraordinary, arrestingly whimsical book brings us indelible art in a time of terrible suffering."-- Publisher's description. (Recommended by Qurrat ul ain Raza Abbas, MFA Creative Writing '26)

From the Publisher: Almond Blossoms and Beyond is one of the last collections of poetry that Mahmoud Darwish left to the world. Composed of brief lyric poems and the magnificent sustained Exile cycle, Almond Blossoms holds an important place in Darwish's unparalleled oeuvre. It distills his late style, in which, though the specter of death looms and weddings turn to funerals, he threads the pulses and fragilities and beauties of life into the lines of his poems. Their liveliness is his own response to the collection's final call to bid "Farewell / Farewell, to the poetry of pain."

"It's nearly impossible to write poetry that holds the human desire for joy and the insistent agitations of protest at the same time, but Lena Khalaf Tuffaha's gorgeous and wide-ranging new collection Something About Living does just that. Her poems interweave Palestine's historic suffering, the challenges of living in this world full of violence and ill will, and the gentle delights we embrace to survive that violence. Khalaf Tuffaha's elegant poems sing the fractured songs of Diaspora while remaining clear-eyed to the cause of the fracturing: the multinational hubris of colonialism and greed. This collection is her witness to our collective unraveling, vowel by vowel, syllable by syllable. "Let the plural be a return of us" the speaker of "On the Thirtieth Friday We Consider Plurals" says and this plurality is our tenuous humanity and the deep need to hang on to kindness in our communities. In these poems Khalaf Tuffaha reminds us that love isn't an idea; it is a radical act. Especially for those who, like this poet, travel through the world vigilantly, but steadfastly remain heart first. -Adrian Matejka, author of Somebody Else Sold the World"-- Provided by publisher.