Poet Brett Belcastro’s “Guitar-Shaped Forest” oscillates between visions of apocalyptic militarism and utopian longing.

Nigerian poet Fadairo Tesleem’s “In Shaa Allah” is a prayer against war and a call to “lift the lamp of solace & may it flutter / through the four edges of the world.”

Poet CD Eskilson’s “In My Home City” mourns a neighborhood obliterated by development projects and hostile architecture.

In “Same Season,” Brazilian poet Isabella Cruz Pantoja explores the contradictions of human and ecological relationships during “the season of / blackouts, of landslides, and mudslides, of / too much water and not enough water.”

In “lumpenproletariat blues for MonteQarlo’s platinum blonde wig,” poet D. Musa Springer (@halfatlanta) memorializes “the last true drag queen I knew” and meditates on the urgency of anticolonial struggle.

Poet Jonathon Todd’s “Shift Drink 8-4” explores the underbelly of working-class Philadelphia.

In “Type One,” poet Emerald Anastasia traverses the “eugenics spine” of privatized healthcare and its predatory relationship to disabled people.

Rebuking those who “dip the poem in oil, occupy a country for it,” poet Justin Davis explores the intimacies between the literary-artistic world and institutions of policing and imperialist expansion.

In “No Longer Alone,” poet Howard Moon invokes his ancestors in the Sac & Fox Nation as comrades in the struggle against capitalist alienation and imperialist violence.