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Love is malleable and comes in many forms. It can be shaped into bridges and carved into doorways. It can become a hand to hold up the sky when everything threatens to crash down around us. Inspired by personal experience, If We Could Hold Up the Sky is a poetry collection revolving around the tale of two neurodivergent individuals who meet as colleagues, fall rapidly into an iron friendship, and gradually become romantic partners.

I am open; these words are my sutures. Shades is an attempt to reconcile who I am as a man, with a society that seems to be fluctuating and struggling at every turn. I show my encounters with family, religion, queerness, heartbreak, COVID-19, and politics. This is a look at my life in 2021, shown through poetry.

In this collection of 30 cat poems, author Debbie De Louise shares her love and knowledge of the felines she’s known throughout her life. Most of the poems are inspired by her current and past cats. Some poems are funny; others are sad, but all reflect the beauty, intelligence, and special characteristics of these animals. If you are a cat lover or enjoy poems about cats, you will be both touched and entertained by this poetry collection that also includes notes about how they inspired her to write the poems.

In The Devil’s Blacklist, Braeden Michaels gravitates to the darkest edges of the human mind and soul. The collection of almost 200 poems revolves around lust, anger, self-destruction, self-reflection, love, and the love that generates rubble. Braeden Michaels introduces a completely new form of poetry known as Deconstructive Literature, in which the author takes a thought, idea, scene, or emotion and deconstructs it only to rebuild it again, piece by piece, line upon line.

You will confront your darkest fears and beckon them to the surface of your mind. Nightmares will cause conflict between the charcoal days and bleak nights. With a splash of colorful, sweet sentiment to contrast the shadows, Dark Days will leave a twisted, yet merry mark on your soul.

In these exquisitely rendered poems, people fall in and out of love, in and out of religious belief and in and out of accepting the distance between their imagined lives and the lives they live. They look back as much as forward and pick mercilessly at the open wounds of failed relationships. They inhabit geographies that are both their emancipators and captors. And they find joy, or succumb to sorrow, amid life’s inescapable ephemerality and fragility.