Winter Weather Closures and Extended Deadlines

All locations of the Des Moines Public Library will open at NOON Tuesday, January 26 for curbside pickup (and computers at Central Library) due to inclement weather. All holds pickup deadlines and due dates have been extended until Wednesday, January 27.

Reduced Services at All DMPL Locations

All Des Moines Public Library locations have reduced in-person services at this time. Browsing will be unavailable, and public computers will only be available at Central Library by appointment. Curbside Pickup will continue at all locations. Go HERE for all the details about this decision and to see our new hours, services, and offerings at each DMPL location.

Hanif Abdurraqib


Please Note: Registration will open approximately one month prior to this event.

Wednesday, April 14, 7:00 PM, Zoom


Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. His poetry has been published in MuzzleVinylPEN American, and various other journals. His essays and music criticism have been published in The FADERPitchforkThe New Yorker, and The New York Times. His first full length poetry collection, The Crown Ain't Worth Much, was released in 2016. It was named a finalist for the Eric Hoffer Book Prize and was nominated for a Hurston-Wright Legacy Award. His first collection of essays, They Can't Kill Us Until They Kill Us, was released in 2017, and his second book, Go Ahead In The Rain: Notes To A Tribe Called Quest, was published in 2019. Both received wide critical acclaim, being named to several “best of the year” lists, including that of Buzzfeed, The Washington Post, GQ, Paste, Pitchfork, and more. His second collection of poems, A Fortune For Your Disaster, was released in September 2019.

His newest book, being released in March, is titled A Little Devil in America: Notes in Praise of Black Performance. In the book, Hanif reflects on Black performance and performers and how they are inextricably woven into the fabric of American culture. From major figures such as Merry Clayton, Jacqueline Baker, and Beyoncé to the small examples, like a schoolyard fistfight, a dance marathon, or “the instant in a game of spades right after the cards are dealt,” Abdurraqib writes how these moments have layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.