Not Quite Without a Moon (Peepal Tree Press) gathers Ian McDonald’s poems written over the past four years. Though the novel The Hummingbird Tree is the Trinidad-born writer’s best-known work, his career as a poet is both prolific and resonant. This new collection meditates on family ties and the tenacious consolations of nature even amid climate crisis, summoning questions on the poet’s role in preserving and sustaining memory.

Children of the Eternal Mother (self-published), the debut novel by Trinidadian playwright and arts worker Keon Francis, draws on the deep folkloric traditions of T&T to create an epic narrative saga. A powerful prophecy looms over Siwo and Roucou, both of whom have their own destinies to follow. Will they choose to take up the call of defending their homelands, or will their missions be thwarted by forces outside of their control?

River Sing Me Home (Penguin Random House), a novel by the granddaughter of Windrush immigrants Eleanor Shearer, charts a cross-Caribbean historical journey of enslavement, freedom, and redemption. From Barbados to British Guiana to Trinidad, runaway ex-enslaved Rachel searches for her children, willing to risk everything to discover their fates. Set in slavery’s immediate aftermath, River Sing Me Home explores the continued exploitation of Black bodies under the apprenticeship regime that succeeded the Emancipation Act of 1834.

Patchwork: Essays & Interviews on Caribbean Visual Culture (Intellect Ltd.), by 2016 OCM Bocas Prize for Non-Fiction winner Jacqueline Bishop, assembles a critical repository of responses to the transformative art being made in the Caribbean and its diaspora. Drawing on the contributions of artists such as Wendy Nanan and Olivia McGilchrist, Patchwork uses an extended metaphor of needlework to map the bold borders of regional art culture.

I’m Black So You Don’t Have to Be (Jonathan Cape), subtitled “A Memoir in Eight Lives”, reflects Colin Grant’s family journey through respectability and race politics, shaping a domestic sphere that is at once intensely personal and universal. Born in Britain to Jamaican parents, Grant approaches the story of his family with rare transparency, showing how their intertwined lives also reflect a Black British consciousness that has its roots in both the Caribbean and African diaspora.

Forecast Form: Art in the Caribbean Diaspora, 1990s–Today (DelMonico Books), a multigenerational, cross-border compilation edited by Carla Acevedo-Yates to accompany an exhibition of the same name, positions the Caribbean’s art history and future as a site of perpetual renewal. Studying the work of thirty-seven artists, including T&T’s Christopher Cozier, Jamaica’s Ebony G. Patterson, and the Bahamas’ Tavares Strachan, Forecast Form is a rich interplay of text responding to image, one in which many potential Caribbeans emerge.