CAAPP Book Prize

Richard Hamilton's second poetry collection, Discordant, is a searing examination of injustice both within the United States and abroad, from criticisms of the US military-industrial complex and failing healthcare system to multilayered observations of marginalization through the lenses of race, class, gender, and sexuality. Hamilton's poems look closely at increased austerity measures, commitment to mass incarceration and private prisons, disdain for workers and labor resistance, the expansion of the US military budget, the disappearance of federal subsidies for the working poor, failing schools and teacher shortages, market inflation and price gouging, and the rising tide of right-wing fascism. Hamilton's lyrical writing brings together free-form essays and personal narratives full of keen-eyed and urgent observations. Told from the perspective of a speaker who is unemployed and pensive, Hamilton shows how history haunts us while keeping the present in the foreground, constantly challenging oppression that has long been commonplace.

"Jasmine Reid writes a shapeful, theoretical work involved in the rigorous attending to emergent selves and the languages made in calling them into being." -aracelis girmay Interlocutor Goddess explores the creation of a trans language for selfhood within an exilic state of "ecstatic grief." Reid's experimental work challenges societal norms, particularly the family as a political construct while reflecting on the trans experiences of a queer Black woman. The poems grapple with oppressive systems of separation and colonial legacies, rejecting extractive, empire-driven paradigms, and gender essentialism. Within her collection, Reid envisions alternative, ethical ways of being, rooted in unity and wholeness and finds kinship with the rhythms and lifeways of the natural world-soil, stars, and water. Her poetry employs a trans-lyricism, weaving together dual meanings through homonyms, homophones, and portmanteaus to create a layered, fugitive language that resists rigid classifications. At its core, Interlocutor Goddess is an act of transfiguration, a celebration of girlhood, and a reclamation of wholeness for all who exist beyond imposed boundaries.

Okwudili Nebeolisa's debut poetry collection, Terminal Maladies, serves as an intimate exploration of the relationship between a mother and son and their emotional journey during her battle with cancer. Throughout the book, Nebeolisa attempts to reconcile his guilt of starting a new life in the United States, far away from his mother and his home in Nigeria. Depicting tender moments, Terminal Maladies highlights how the poet and his family shoulder the responsibility of caregiving together and how Nebeolisa works to bridge the physical, and at times, emotional, distance between them. He wonders: "I don't understand / her smile or why she would be submerged / in pain and wouldn't want to admit it. / Who did this to our mothers?" The book questions his Nigerian mother's need to act brave and a son's need to protect. Terminal Maladies reminds us that grief is inevitable, yet unique to each of us, and serves as a tribute to Nebeolisa's mother and is a necessary read for anyone who has faced the challenges of caring for a loved one.

Carly Inghram's poems explore the day-to-day experiences of a Black queer woman who is ceaselessly bombarded with images of mass-consumerism, white supremacy, and sexism, and who is forced, often reluctantly, back indoors and away from this outside chaos. The poems in The Animal Indoors seek to understand and define the boundaries between our inside and outside lives, critiquing the homogenization and increasing insincerity of American culture and considering what safe spaces exist for Black women. The speaker in these poems seeks refuge, working to keep the interior safe until we can reckon with the world outside until the speaker is able to "unleash the indoor news onto the unclean water elsewhere."

Jacqui Germain's debut collection, Bittering the Wound, is a first-person retelling of the 2014 Ferguson uprising. Part documentation, part conjuring, this collection works to share the narrative of the event with more complexity, audacity, care, and specificity than public media accounts typically allow. Throughout the book, Germain also grapples with navigating the impacts of sustained protest-related trauma on mental health as it relates to activism and organizing. The book also takes occasional aim at the media that sensationalized these scenes into a spectacle and at the faceless public that witnessed them. Bittering the Wound challenges the way we discuss, write about, and document political unrest. It offers fresh language and perspective on a historic period that reverberated around the world. Germain takes the reader through poems that depict a range of scenes-from mid-protest to post-protest-and personifies St. Louis with a keen and loving eye.