Seth Kantner’s Ordinary Wolves told the story of a white boy raised in a sod igloo on the Arctic tundra. A heartbreaking vision of a vanishing world, it established Kantner as one of the nation’s most original and authentic writers. Here, he returns to the setting of his debut novel with an autobiographical account of his own life in a rapidly changing land. Beginning with his parents’ migration to the Alaskan wilderness in the 1950s and extending to his own attempts to balance hunting with writing, Kantner recalls cold nights wrapped in caribou hides, fur-clad visitors arriving on dog sleds, swimming amidst ice floes for wounded waterfowl, and his longstanding respect for the old Iñupiaq ways. Captured in words and images, these details combine to reveal a singular landscape at a pivotal moment in its history. Both an elegy and a romp, the book illuminates a world few will see as Kantner has.

In the tradition of Jack London, Seth Kantner presents an Alaska far removed from majestic clichés of exotic travelogues and picture postcards. Kantner’s vivid and poetic prose lets readers experience Cutuk Hawcly’s life on the Alaskan plains through the character’s own words—feeling the pliers pinch of cold and hunkering in an igloo in blinding blizzards. Always in Cutuk’s mind are his father Ab,; the legendary hunter Enuk Wolfglove, and the wolves—all living out lives on the unforgiving tundra. Jeered and pummeled by native children because he is white, Cutuk becomes a marginal participant in village life, caught between cultures. After an accident for which he is responsible, he faces a decision that could radically change his life. Like his young hero, Seth Kantner grew up in a sod igloo in the Alaska, and his experiences of wearing mukluks before they were fashionable, eating boiled caribou pelvis, and communing with the native tribes add depth and power to this acclaimed narrative.

Hyperboreal originates from diasporas. It attempts to make sense of change and to prepare for cultural, climate, and political turns that are sure to continue. The poems originate from the hope that our lives may be enriched by the expression of and reflection on the cultural strengths inherent to indigenous culture. It concerns King Island, the ancestral home of the author's family until the federal government's Bureau of Indian Affairs forcibly and permanently relocated its residents. The poems work towards the assembly of an identity, both collective and singular, that is capable of looking forward from the recollection and impact of an entire community's relocation to distant and arbitrary urban centers. Through language, Hyperboreal grants forum to issues of displacement, lack of access to traditional lands and resources and loss of family that King Island people—and all Inuit—are contending with.

This collection of poetry is inspired by the author’s lineage as an Iñupiaq Eskimo woman with family from King Island and Mary’s Igloo, Alaska. The poems’ syncopated cadences and evocative images bring to life the exceptional physical and cultural conditions of the Arctic and sub-Arctic that have been home to her ancestors for tens of thousands of years, while the poems’ speakers refer to an indigenous identity that has become increasingly plural. The author’s perspective as a Native person affords her unique insight into the relationship with place and self, which she applies in her consideration of the arctic landscape and to questions of adaptation and resilience. Kane’s work refers to the Iñupiaq oral tradition, and while in some poems she continues to revisit, rewrite, and revise traditional narratives that are suited to the lyric form, she moves beyond narrative retelling, honoring the legacy of imagination that has sustained Iñupiaq people for millennia.

Winner of the 2002 Dorset Prize, and recipient of the Ruth Lilly Fellowship, Ilya Kaminsky is a recent Russian immigrant and rising poetic star. Despite the fact that he is a non-native speaker, Kaminksy's sense of rhythm and lyic surpasses that of most contemporary poets in the English language. This magical, musical book of poems draws readers into its unforgettable heart, and Carolyn Forché writes simply, "I'm in awe of his gifts."

When Gladstone Belle is found hanging from a beam in his own house, everyone in the village tries to understand who he really was, and why he killed himself. In this Caribbean Citizen Kane, the voices of Gladstone's past accumulate, complementing and contradicting each other, to arrive at an understanding of Gladstone's true identity and the circumstances that complicated his life. And his death.

Cudgoe has died several times in the past 300 years. Now, as a ghost he is watching over the Hill, a fictionalized island nation in the Caribbean that has just won its independence. Then bauxite deposits are discovered under the Hill and the government evicts the residents to begin strip mining. Cudgoe and his "ghostly" friends help the inhabitants by interfering with the plans of a corrupt government.

There is bad luck, good luck, and making your own luck—which is exactly what Summer must do to save her family in this winner of the National Book Award by Newbery Medalist Cynthia Kadohata.

Summer knows that kouun means "good luck" in Japanese, and this year her family has none of it. Just when she thinks nothing else can possibly go wrong, an emergency whisks her parents away to Japan—right before harvest season. Summer and her little brother are left in the care of their grandparents—Obaachan and Jiichan—who come out of retirement in order to harvest wheat and help pay the bills. The thing about Obaachan and Jiichan is that they are old-fashioned and demanding, and between helping Obaachan cook for the workers, covering for her when her back pain worsens, and worrying about her lonely little brother, Summer just barely has time to notice the attentions of their boss's cute son. But notice she does, and what begins as a welcome distraction from the hard work soon turns into a mess of its own. Having thoroughly disappointed her grandmother, Summer figures the bad luck must be finished—but then it gets worse. And when that happens, Summer has to figure out how to change it herself, even if it means further displeasing Obaachan. Because it might be the only way to save her family. Cynthia Kadohata's ode to the breadbasket of America has received six starred reviews and was named on numerous "best of" lists for 2013.

kira-kira (kee ra kee ra): glittering; shining

Glittering. That's how Katie Takeshima's sister, Lynn, makes everything seem. The sky is kira-kira because its color is deep but see-through at the same time. The sea is kira-kira for the same reason. And so are people's eyes. When Katie and her family move from a Japanese community in Iowa to the Deep South of Georgia, it's Lynn who explains to her why people stop on the street to stare. And it's Lynn who, with her special way of viewing the world, teaches Katie to look beyond tomorrow. But when Lynn becomes desperately ill, and the whole family begins to fall apart, it is up to Katie to find a way to remind them all that there is always something glittering—kira-kira—in the future. Winner of the Newbery Medal.

In this superb and eagerly anticipated debut collection by the young African American poet A. Van Jordan, the energy and music of Jordan's language, his honesty of feeling and of truth telling, are matched by his freshness and power. "His stuff shines, sweat pours off it," says Joy Harjo. And there is a kind of solidity and reality in Jordan's poems that display varieties of experience and depths of meditation too rarely found in contemporary American poetry.