Part of a larger sonnet sequence based on the pre-Columbian myth of El Cipitio, William Archila’s untitled poem explores Salvadoran history and the scholars who distort it.

In “Ballad of saltwater children,” poet Sarpong Osei Asamoah illuminates the histories of the Akan people and their long struggle against the “borderless noose” of racial capitalism and ecological violence.

Poet Cody Tracy’s “Iron” narrates our ecological and social decline as “A bond between rivers. Between the gone and / those of us not yet dead.”

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.”