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A storm's-eye view of the devastation that forever changed New Orleans and America.
In minute-by-minute detail, Patricia Smith tracks Hurricane Katrina as it transforms into a full-blown mistress of destruction. From August 23, 2005, the day Tropical Depression Twelve developed, through August 28 when it became a Category Five storm with its “scarlet glare fixed on the trembling crescent,” to the heartbreaking aftermath, these poems evoke the horror that unfolded in New Orleans as America watched it on television. Assuming the voices of flailing politicians, the dying, their survivors, and the voice of the hurricane itself, Smith follows the woefully inadequate relief effort and stands witness to families held captive on rooftops and in the Superdome. She gives voice to the thirty-four nursing home residents who drowned in St. Bernard Parish and recalls the day after their deaths when George W. Bush accompanied country singer Mark Willis on guitar: The cowboy grins through the terrible din, *** And in the Ninth, a choking woman wails Look like this country done left us for dead. An unforgettable reminder that poetry can still be “news that stays news,” Blood Dazzler is a necessary step toward national healing. Patricia Smith is the author of four previous collections of poetry, including Teahouse of the Almighty, winner of the Hurston/Wright Legacy Award and the Paterson Poetry Prize. A record-setting, national poetry slam champion, she was featured in the film Slamnation, on the HBO series Def Poetry Jam, and is a frequent contributor to Harriet, the Poetry Foundation’s blog. Visit her website at www.wordwoman.ws.
Winner of 2013 Wheatley Book Award in Poetry Finalist for 2013 William Carlos Williams Award "Patricia Smith is writing some of the best poetry in America today. Ms Smith’s new book, Shoulda Been Jimi Savannah, is just beautiful—and like the America she embodies and represents—dangerously beautiful. Shoulda Been Jimi Savannah is a stunning and transcendent work of art, despite, and perhaps because of, its pain. This book shines." —Sapphire "One of the best poets around and has been for a long time." —Terrance Hayes "Smith's work is direct, colloquial, inclusive, adventuresome." —Gwendolyn Brooks In her newest collection, Patricia Smith explores the second wave of the Great Migration. Shifting from spoken word to free verse to traditional forms, she reveals "that soul beneath the vinyl." Patricia Smith is the author of five volumes of poetry, including Blood Dazzler, a finalist for the 2008 National Book Award, and Teahouse of the Almighty, a National Poetry Series selection. She lives in New Jersey.
Winner, 2017 Los Angeles Times Book Prize Finalist, 2018 Pulitzer Prize for Poetry Winner, NAACP Image Award for Outstanding Literary Work in the Poetry category Winner, 2018 Kingsley Tufts Poetry Award Winner, 2018 BCALA Best Poetry Award Winner, Abel Meeropol Award for Social Justice Finalist, Neustadt International Prize for Literature Winner, 2021 Ruth Lilly Poetry Prize One of the most magnetic and esteemed poets in today’s literary landscape, Patricia Smith fearlessly confronts the tyranny against the black male body and the tenacious grief of mothers in her compelling new collection, Incendiary Art. She writes an exhaustive lament for mothers of the "dark magicians," and revisits the devastating murder of Emmett Till. These dynamic sequences serve as a backdrop for present-day racial calamities and calls for resistance. Smith embraces elaborate and eloquent language— "her gorgeous fallen son a horrid hidden / rot. Her tiny hand starts crushing roses—one by one / by one she wrecks the casket’s spray. It’s how she / mourns—a mother, still, despite the roar of thorns"— as she sharpens her unerring focus on incidents of national mayhem and mourning. Smith envisions, reenvisions, and ultimately reinvents the role of witness with an incendiary fusion of forms, including prose poems, ghazals, sestinas, and sonnets. With poems impossible to turn away from, one of America’s most electrifying writers reveals what is frightening, and what is revelatory, about history.
Presents a collection of short stories featuring noir and crime fiction about Staten Island, New York, by such authors as Todd Craig, Linda Nieves-Powell, S. J. Rozan, and Patricia Smith.
A National Poetry Series winner, chosen by Edward Sanders. “What power. Smith’s poetry is all poetry. And visceral. Her poems get under the skin of their subjects. Their passion and empathy, their real worldliness, are blockbuster.”—Marvin Bell “I was weeping for the beauty of poetry when I reached the end of the final poem.”—Edward Sanders, National Poetry Series judge From Lollapalooza to Carnegie Hall, Patricia Smith has taken the stage as this nation’s premier performance poet. Featured in the film Slamnation and on the HBO series Def Poetry Jam, Smith is back with her first book in over a decade—a National Poetry Series winner weaving passionate, bluesy narratives into an empowering, finely tuned cele-bration of poetry’s liberating power.
The 115th volume of the Yale Series of Younger Poets is a lyrical and polyvocal exploration of what it means to fight for yourself “Bailey invites us to see what twenty-first-century life is like for a young woman of the Black diaspora in the long wake of a history of slavery, brutality, and struggling for freedoms bodily and psychological.” —Carl Phillips, from the Foreword The 115th volume of the Yale Series of Younger Poets, What Noise Against the Cane is a lyric quest for belonging and freedom, weaving political resistance, Caribbean folklore, immigration, and the realities of Black life in America. Desiree C. Bailey begins by reworking the epic in an oceanic narrative of bondage and liberation in the midst of the Haitian Revolution. The poems move into the contemporary Black diaspora, probing the mythologies of home, belief, nation, and womanhood. Series judge Carl Phillips observes that Bailey’s “poems argue for hope and faith equally. . . . These are powerful poems, indeed, and they make a persuasive argument for the transformative powers of steady defiance.”
In Ghost Letters, one emigrates to America again, and again, and again, though one also never leaves Senegal, the country of one’s birth; one grows up in America, and attends university in America, though one also never leaves Senegal, the country of one’s birth; one wrestles with one’s American blackness in ways not possible in Senegal, though one never leaves Senegal, the country of one’s birth; and one sees more deeply into Americanness than any native-born American could. Ghost Letters is a 21st century Notebook of a Return to the Native Land, though it is a notebook of arrival and being in America. It is a major achievement. —Shane McCrae
National Book Critics Circle Award finalist. Paterson Award for Literary Excellence. "What Hicok's getting at [in Elegy Owed] is both the necessity and the inadequacy of language, the very bluntness of which (talk about a paradox) makes it all the more essential that we engage with it as a precision instrument, a force of clarity, of (at times) awful grace."—Los Angeles Times "[A] fluid, absorbing new collection. . . . Highly recommended."—Library Journal, starred review When asked in an interview "What would Bob Hicok launch from a giant sling shot?" he answered "Bob Hicok." Elegy Owed—Hicok's eighth book—is an existential game of Twister in which the rules of mourning are broken and salvaged, and "you can never step into the same not going home again twice." From "Notes for a time capsule": The twig in. I'll put the twig in I carry in my pocket and my pocket and my eye, my left eye. A cup of the Ganges and the bacteria from shit in the Ganges and the anyway ablutions of rainbow- robed Hindus in the Ganges. The dawnline of the mountain with contrail above like an accent in a language too large for my mouth. A mirror so whoever opens the past will see themselves in the past and fall back from their face speaking to them across centuries or hours or the nearnevers . . . Bob Hicok's worked as an automotive die designer and a computer system administrator before becoming an associate professor of English at Virginia Tech. He lives in Blacksburg, Virginia.
Exploring the sudden loss of her child, the hope that precedes this crisis, and the suffering that follows, this collection of poetry renders a shattering experience with candor and immediacy. This collection is about the eviscerating loss of a child, the hope that precedes this crisis, and the suffering that follows. Spare, plain, sometimes startling in their snatches of humor, Pollari’s poems careen into the “tilted reality” of grief. This is poetry dredged from shock and rage, then dissected with pointillistic precision. Many of the pieces are closer to prose: in plain, forceful, language that will capture readers outside the poetry audience, they uncover and name sentiments outside of what is expected in books about child loss and grief: for instance, the embarrassment Niina felt for letting herself feel hope and joy, for revealing that she desired to be a mother at all, and for having to inform the world that her desire would not be granted. A shattering experience rendered with candor and immediacy, Path of Totality is a book “for anyone who ever expected anything” about a rarely told experience of motherhood.