Codjoe's poems explore how the archetype of the artist complicates the typical expectations of women: be gazed upon, be silent, be selfless, reproduce. Dialoguing with and through art, Bluest Nude considers alternative ways of holding and constructing the self. From Lorna Simpson to Gwendolyn Brooks to Lynette Yiadom-Boakye, contemporary and ancestral artists populate Bluest Nude in a choreography of Codjoe's making. Startling and seductive in equal measure, this formally ambitious collection represents a powerful, luminous beginning.

At Banneker Terrace, everybody knows everybody, or at least knows of them. Longtime tenants' lives are entangled together in the ups and downs of the day-to-day, for better or for worse. The neighbors in the unit next door are friends or family, childhood rivals or enterprising business partners. In other words, Harlem is home. But the rent is due, and the clock of gentrification—never far from anyone's mind—is ticking louder now than ever. In eight interconnected stories, Sidik Fofana conjures a residential community under pressure. 

Charlene is a divorced mom, has a young son named Brandon, and works full-time as a nurse while also caring for her infirm father. She is barely holding their lives together when tragedy strikes and leaves Charlene and Brandon on their own. Charlene, who has put everyone but herself first for years, sees it as an opportunity for a new start of sorts. That is, at least, until her easy-come, easy-go brother, Robbie — a well-intentioned but unserious semi-professional musician — rolls back into town after a long absence. No One Else is a graphic novel of great tender truth, as Charlene, Brandon, and Robbie learn to navigate life day to day with their plans, fears, and desires.

First-rate prep school, SUV, and a dream house in the heights — an island paradise was handed to Loren Foster when he moved to Hawaii with his father six years ago. Now, with the end of high school just around the corner, his best friend, Shane, has grown distant. Rumors abound. Loren suspects that Shane has left him behind for a new group of friends. Their friendship is put to the test when they get mixed up in a petty crime. Johnson has a naturalistic ease in exploring these relationships, which sets this drama apart. This graphic novel debut is at once an unsentimental portrait of that most awkward period between adolescence and young adulthood and that rarest of things — a mature depiction of immature lives.

In 1965, five years after the capture of Adolf Eichmann in Buenos Aires, one of his Mossad abductors was sent back to South America to kill another fugitive Nazi, the so-called "butcher of Riga," Latvian Herberts Cukurs. Cukurs was shot. Years later, the Latvian prosecutor general began investigating the possibility of redeeming Cukurs for his past actions. Researching the case, Linda Kinstler discovered that her grandfather, Boris, had served in Cukurs's killing unit and was rumored to be a double agent for the KGB. The proceedings, which might have resulted in Cukurs's pardon, threw into question supposed "facts" about the Holocaust at the precise moment its last living survivors—the last legal witnesses—were dying. Rich with scholarly detective work and personal reflection, Come to This Court and Cry is a fearlessly brave examination of how history can become distorted over time, how easily the innocent are forgotten, and how carelessly the guilty are sometimes reprieved.

Joan of Arkansas is an election-season closet drama about climate catastrophe, divine gender expression, the instructions of angels, and heavenly revelation relayed via viral video. Fifteen-year-old Joan has been tasked by God (They/Them) to ensure that Charles VII (R–Arkansas) adopts radical climate policy and wins his bid as the Lord’s candidate to become the president of the United States. Arkansas is flooding, the West is burning, and borders are closed: “Heaven or / internet—it’s / hard to be / good.”

“Is me—Bob. Bob Marley.” Reincarnated as homeless Fall-down man, Bob Marley sleeps in a clock tower built on the site of a lynching in Half Way Tree, Kingston. The ghosts of Marcus Garvey and King Edward VII are there too, drinking whiskey and playing solitaire. No one sees that Fall-down is Bob Marley, no one but his long-ago love, the deaf woman, Leenah, and, in the way of this otherworldly book, when Bob steps into the street each day, five years have passed. Jah ways are mysterious ways, from Kingston’s ghettoes to London, from Haile Selaisse’s Ethiopian palace and back to Jamaica, Marcia Douglas’s mythical reworking of three hundred years of violence is a ticket to the deep world of Rasta history. This amazing novel—in bass riddim—carries the reader on a voyage all the way to the gates of Zion.

In his debut collection, Fantasia for the Man in Blue, Tommye Blount orchestrates a chorus of distinct, unforgettable voices that speak to the experience of the black, queer body as a site of desire and violence. A black man’s late-night encounter with a police officer – the titular “man in blue” – becomes an extended meditation on a dangerous, erotic fantasy. The late Luther Vandross, resurrected here in a suite of poems, addresses the contradiction between his public persona and a life spent largely in the closet: “It’s a calling, this hunger / to sing for a love I’m too ashamed to want for myself.” In “Aaron McKinney Cleans His Magnum,” the convicted killer imagines the barrel of the gun he used to bludgeon Matthew Shepard as an “infant’s small mouth” as well as the “sad calculator” that was “built to subtract from and divide a town.” In these and other poems, Blount viscerally captures the experience of the “other” and locates us squarely within these personae.

In this powerful and deeply felt polemic memoir, Alejandra Oliva, a Mexican-American translator and immigrant justice activist, offers a chronological document of her experience interpreting at the US-Mexico border, and of the people she has encountered along the way.