15 Books Published by BOA Editions on AALBC — Book Cover Collage

How to Carry Water: Selected Poems of Lucille Clifton celebrates both familiar and lesser-known works by one of America’s most beloved poets, including 10 newly discovered poems that have never been collected.

These poems celebrating black womanhood and resilience shimmer with intellect, insight, humor, and joy, all in Clifton’s characteristic style—a voice that the late Toni Morrison described as “seductive with the simplicity of an atom, which is to say highly complex, explosive underneath an apparent quietude.” Selected and introduced by award-winning poet Aracelis Girmay, this volume of Clifton’s poetry is simultaneously timeless and fitting for today’s tumultuous moment.

WINNER OF THE 2018 JAMES LAUGHLIN AWARD

Geffrey Davis’s second collection of poems reads as an evolving love letter and meditation on what it means to raise an American family. In poems that express a deep sense of gratitude and wonder, Davis delivers a heart-strong prayer that longs for home, for safety for Black lives, and for the messy success of breaking through the trauma of growing up during the crack epidemic to create a new model of fatherhood. Filled with humor and tenderness, Night Angler sings its own version of a song called grace—sung with a heavy and hopeful mix of inherited notes and discovered chords.

A lyrical and biographical reflection on the art and life of Horace H. Pippin—the best-known African American artist of his time—Primitive offers a searching critique of the condescension to African American folk art as supposedly "primitive," and it also critiques the underestimation of African American life and imagination in the broader American consciousness. Award-winning poet Janice N. Harrington connects readers to this fascinating, odds-defying artist, all while underscoring the human craving for artistic expression.

Praise for Aracelis Girmay:

"[Girmay’s] every loss—she calls them estrangements—is a yearning for connection across time and place; her every fragment is a bulwark against ruin." —O, The Oprah Magazine

Taking its name from the moon’s dark plains, misidentified as seas by early astronomers, the black maria investigates African diasporic histories, the consequences of racism within American culture, and the question of human identity. Central to this project is a desire to recognize the lives of Eritrean refugees who have been made invisible by years of immigration crisis, refugee status, exile, and resulting statelessness. The recipient of a 2015 Whiting Award for Poetry, Girmay’s newest collection elegizes and celebrates life, while wrestling with the humanistic notion of seeing beyond: seeing violence, seeing grace, and seeing each other better.

"to the sea"

great storage house, history
on which we rode, we touched
the brief pulse of your fluttering
pages, spelled with salt & life,
your rage, your indifference
your gentleness washing our feet,
all of you going on
whether or not we live,
to you we bring our carnations
yellow & pink, how they float
like bright sentences atop
your memory’s dark hair

Aracelis Girmay is the author of three poetry collections, the black maria; Kingdom Animalia, which won the Isabella Gardner Award and was a finalist for the NBCC Award; and Teeth. The recipient of a 2015 Whiting Award, she has received grants and fellowships from the Jerome, Cave Canem, and Watson foundations, as well as Civitella Ranieri and the NEA. She currently teaches at Hampshire College’s School for Interdisciplinary Arts and in Drew University’s low residency MFA program. Originally from Santa Ana, California, she splits her time between New York and Amherst, Massachusetts.

This debut collection by Cave Canem fellow Geffrey Davis burrows under the surface of gender, addiction, recovery, clumsy love, bitterness, and faith. The tones explored—tender, comic, wry, tragic—interrogate male subjectivity and privilege, as they examine their "embarrassed desires" for familial connection, sexual love, compassion, and repair. Revising the Storm also speaks to the sons and daughters affected by the drug/crack epidemic of the ’80s and addresses issues of masculinity and its importance in family.

Some nights I hear my father’s long romance
with drugs echoed in the skeletal choir
of crickets.

Geffrey Davis holds an MFA and a PhD from Penn State University. A Cave Canem fellow, Davis is the recipient of the 2013 Dogwood First Prize in Poetry, the 2012 Wabash Prize for Poetry, the 2012 Leonard Steinberg Memorial/Academy of American Poets Prize, and the 2013 A. Poulin, Jr. Poetry Prize. He currently teaches at the University of Arkansas.

Winner of the 2013 Hurston/Wright Legacy Award for Poetry

"The Collected Poems of Lucille Clifton 1965-2010 may be the most important book of poetry to appear in years."—Publishers Weekly"All poetry readers will want to own this book; almost everything is in it."—Publishers Weekly"If you only read one poetry book in 2012, The Collected Poems of Lucille Clifton ought to be it."—NPR"The ’Collected Clifton’ is a gift, not just for her fans…but for all of us."—The Washington Post"The love readers feel for Lucille Clifton—both the woman and her poetry—is constant and deeply felt. The lines that surface most frequently in praise of her work and her person are moving declarations of racial pride, courage, steadfastness."—Toni Morrison, from the ForewordThe Collected Poems of Lucille Clifton 1965–2010 combines all eleven of Lucille Clifton’s published collections with more than fifty previously unpublished poems. The unpublished poems feature early poems from 1965–1969, a collection-in-progress titled the book of days (2008), and a poignant selection of final poems. An insightful foreword by Nobel Prize–winning author Toni Morrison and comprehensive afterword by noted poet Kevin Young frames Clifton’s lifetime body of work, providing the definitive statement about this major America poet’s career.On February 13, 2010, the poetry world lost one of its most distinguished members with the passing of Lucille Clifton. In the last year of her life, she was named the first African American woman to receive the $100,000 Ruth Lilly Poetry Prize honoring a US poet whose "lifetime accomplishments warrant extraordinary recognition," and was posthumously awarded the Robert Frost Medal for lifetime achievement from the Poetry Society of America."mother-tongue: to man-kind" (from the unpublished the book of days):all that I am asking is
that you see me as something
more than a common occurrence,
more than a woman in her ordinary skin.

Janice N. Harrington’s debut collection, Even the Hollow My Body Made Is Gone, won the A. Poulin, Jr. Poetry Prize Contest and the Kate Tufts Discovery Award. Now she returns with a tightly focused collection that never veers away from its subject matter: the inner-workings of a nursing home.

The Hands of Strangers portrays the tensions and moments of grace between aged nursing home residents and their healthcare workers. What does it mean to be a nurses’ aide in a nursing home, the lowest of the low, the typically-female worker who provides physical care for the devalued bodies of the elderly? What is it to live one’s remaining life on a county ward as an indigent elder? The poems show women in motion: they lift bodies, push wheelchairs, give treatments, and perform the myriad tasks of caretaking. The poems show aides as anonymous figures laboring under routines, time clocks, and a distant medical hierarchy. They tell also tell the stories of how the nursing home industry reshapes lives, bodies, and identities of both aides and the aged.

Janice N. Harrington’s first job was working as a nurses’ aide while still in high school in the seventies. She says, “Like many of the ‘girls’ I worked with, I was young and inexperienced in a workplace that demanded empathy, skill, and compassion for the needs and stories of the elderly. I worked my way through college as a nurses’ aide. I wrote The Hands of Strangers because I cannot forget the ‘girls’ I worked with or the ‘residents’ under my care. I haven’t forgotten what I saw, heard, felt, or learned. Human stories hide behind the walls, the national statistics, and the isolations of institutionalized aging. I wanted to share some of those stories.”

The poems in this highly anticipated second book are elegiac poems, as concerned with honoring our dead as they are with praising the living. Through Aracelis Girmay’s lens, everything is animal: the sea, a jukebox, the desert. In these poems, everything possesses a system of desire, hunger, a set of teeth, and language. These are poems about what is both difficult and beautiful about our time here on earth.Aracelis Girmay’s debut collection won the Great Lakes Colleges Association New Writers Award. A Cave Canem Fellow, she is on the faculty at Drew University and Hampshire College. She lives in Brooklyn, New York.

In 2007, Lucille Clifton became the first African American woman to win the Ruth Lilly Poetry Prize, one of the most prestigious American poetry awards and one of the largest literary honors for work in the English language. Clifton has also won the National Book Award in poetry for Blessing the Boats (BOA Editions, 2000), and is the only author ever to have two collections, Good Woman: Poems and a Memoir (BOA Editions, 1987) and Next: New Poems (BOA Editions, 1987), named finalists for the Pulitzer Prize in one year.In Voices, Clifton continues her celebrated aesthetic of writing poems for the disempowered and the underprivileged while finding humor and redemption among life’s many hardships. This book also highlights Clifton’s ability to write inventive dramatic monologues. Voices includes monologues spoken by animals, as well as by the food product spokespeople Aunt Jemima, Uncle Ben, and the apparently nameless guy on the Cream of Wheat box.“cream of wheat”sometimes at night
we stroll the market aisles
ben and jemima and me they
walk in front humming this and that
i lag behind
trying to remove my chef’s cap
wondering what ever pictured me
then left me personless
rastus
i read in an old paper that i was called rastus
but no mother ever
gave that to her son
toward dawn we head back
to our shelves
our boxes ben and jemima and me
we pose and smile i simmer
to myself what is my nameBOA Editions is thrilled to present the newest poetry collection by the one and only Lucille Clifton.

“Memory and its embodiment in a colloquial, yet highly wrought musical language are what originally drew me to Harrington’s manuscript and what continues to pull me back. We learn the story of Lillian and Webster and their children and grandchildren, a black family living a hardscrabble life in the rural South more than sixty years ago. Set on the cusp of the Civil Rights era, the poems chronicle a way of life that has long since vanished.”—Elizabeth Spires, from the foreword

Lucille Clifton’s poetry carries her deep concerns for the world’s children, the stratification of American society, those people lost or forgotten amid the crushing race of Western materialism and technology. In turns sad, troubled and angry, her voice has always been one of great empathy, knowing, as she says, “the only mercy is memory.” In this, her 12th book of poetry, the National Book Award-winner speaks to the tenuous relationship between mothers and daughters, the debilitating power of cancer, the open wound of racial prejudice, the redemptive gift of story-telling. “September Song,” a sequence of seven poems, featured on National Public Radio, presents a modern-day Orpheus who, through her grief, attempts to heart-intelligently respond to the events of September 11th. The last sequence of poems—a tightly-woven fabric of caveats and prayers—was initially written in the 1970s, then revised and reshaped in the last few years.Lucille Clifton is an award-winning poet, fiction writer and author of children’s books. Her most recent poetry book, Blessing the Boats: New and Selected Poems 1969–1999 (BOA), won the 2000 National Book Award for Poetry. Two of Clifton’s BOA poetry collections, Good Woman: Poems and a Memoir 1969–1980 and Next: New Poems, were chosen as finalists for the Pulitzer Prize in 1988, while Clifton’s The Terrible Stories (BOA) was a finalist for the 1996 National Book Award. Clifton has received fellowships from the NEA, an Emmy Award from the American Academy of Television Arts and Sciences, the Shelley Memorial Prize and the Charity Randall Citation. She is a Distinguished Professor of Humanities as St. Mary’s College in Maryland. She was appointed a Fellow of The American Academy of Arts and Sciences, and elected as Chancellor of The Academy of American Poets in 1999. She lives in Columbia, MD.

Brilliantly honed language, sharp rhythms and striking syntax empower Lucille Clifton’s personal and artistic odyssey. Hers is poetry of birth, death, children, community, history, sexuality and spirituality, and she addresses these themes with passion, humor, anger and spiritual awe.

The long-awaited collection by one of the most distinguished poets working today.

The long-awaited tenth collection of poetry from the Shelley Memorial Prize-winning poet Lucille Clifton.

Finalist, 1988 Pulitzer Prize for Poetry. "Lucille Clifton is one of the four or five most authentic and profound living American poets."—Denise Levertov