Download Free Southern Nights Chapbook Series Book in PDF and EPUB Free Download. You can read online Southern Nights Chapbook Series and write the review.

Black Nature is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated. Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry--anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild. Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements. Black Nature brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole. A Friends Fund Publication.
With a nod toward the grounding inspiration of Mark Twain and James Baldwin in its opening epigraphs, this lush collection of free and formal verse—turning on multiple axes of race, religion, history, politics, and social issues—soars in exploration of the dark, troublesome visions of America. Gerald Barrax, “a black poet who makes familiar black attitudes agonizingly fresh” (Library Journal), speaks with ire and passion of those robbed—and those who rob them—of hope, of sight, of faith, of life. “Ask the West African what happened to his ancestors. / Ask the Native American what happened to his land. / Ask the Person Sitting in Darkness what happened to his light.” But Barrax also croons—about the natural world and its creatures, about music, and about human love and relationships. “Cello Poem,” Dennis Sampson wrote in the Hudson Review, “is an erotic love poem of flesh-and-blood so artfully told one scarcely knows the difference between the cello at the end and the remembered lovers.” And in “The Old Poet Is Taken in Marriage,” Barrax displays an endearing capacity for gentleness and surprise. “Poets who swagger and strut make me sick / with envy,” he writes, “while yet I marvel, in terrified humility, / that poems come to me at all, as Emily / did, for no reason I can understand.” Through the unswerving perspective of a black man, Barrax widens the human experience, achieving a universality of tone. His poems find words for real feelings, and the color of a lover’s skin is, ultimately, not very important. One hundred four poems in all, eighteen penned since his last book, From a Person Sitting in Darkness showcases Barrax’s gifts for arresting imagery and compression, crystalline diction and dichotomy, narrative force, and the leavening touches of humor and irony. This collection is the essence of a lyrical, sensual, unpredictable work.
Showcasing the first Ferris wheel, dazzling and unprece­dented electrification, and exhibits from around the world, the World’s Columbian Exposition of 1893 was Chicago’s chance to demonstrate that it had risen from the ashes of the Great Fire and was about to take its place as one of the world’s great cities. Millions would flock to the fair, and many of them were looking for a good time before and after their visits to the Midway and the White City. But what was the bedazzled visitor to do in Chicago? Chicago by Day and Night: The Pleasure Seeker’s Guide to the Paris of America, a very unofficial guide to the world be­yond the fair, slaked the thirst of such curious folk. The plea­sures it details range from the respectable (theater, architec­ture, parks, churches and synagogues) to the illicit—drink, gambling, and sex. With a wink and a nod, the book decries vice while offering precise directions for the indulgence of any desire. In this newly annotated edition, Chicagoans Paul Durica and Bill Savage—who, if born earlier, might have written chapters in the original—provide colorful context and an informative introduction to a wildly entertaining journey through the Chicago of 120 years ago.
Aviya Kushner (The Grammar of God) places the prophet Isaiah in the position of poet, crooner, and rival in her debut poetry collection, seeking a guide in poetry and in life.
Read What Magick May Not Alter on a porch swing by a live oak if you can. This layered Southern fantasy is unlike any you've read before. Real world issues like the prevalence of the KKK, sexual assault, manslaughter, alcoholism, and complex family dynamics move the plot into emotionally treacherous and painfully real places. Twin sisters Lulah and Vi anchor this story of a magically gifted family told through poetry. Set in early nineteen-hundreds Louisiana, the choice to tell this story in verse sets it apart, making it feel like a spell book or a manifesto at times. Emotion sings through it clear and strong.
Surreal, playful, and always poignant, the prose poems in Jose Hernandez Diaz’s masterful debut chapbook introduce us to a mime, a skeleton, and the man in the Pink Floyd t-shirt, all of whom explore their inner selves in Hernandez Diaz’s startling and spare style. With nods to Russell Edson and the surrealists, Hernandez Diaz explores the ordinary and the not-so-ordinary occurrences of life, set against the backdrop of the moon, and the poet’s native Los Angeles. The TRP Chapbook Series
In New Bad News, the frenetic and far-out worlds of fading celebrities, failed festival promoters, underemployed adjuncts, and overly aware chatbots collide. A Terminator statue comes to life at the Hollywood Wax Museum; a coyote laps up Colt 45, as a passerby looks on in existential quietude; a detective disappears while investigating a missing midwestern cam girl. Set in Kentucky, Hollywood, and the afterlife, these bright, bold short-shorts and stories construct an uncannily familiar, alternate-reality America.
For poet Tiana Clark, trees will never be just trees. They will also and always be a row of gallows from which Black bodies once swung. This is an image that she cannot escape, but one that she has learned to lean into as she delves into personal and public histories, explicating memories and muses around race, elegy, family, and faith by making and breaking forms as well as probing mythology, literary history, her own ancestry, and, yes, even Rihanna. I Can’t Talk About the Trees without the Blood, because Tiana cannot engage with the physical and psychic landscape of the South without seeing the braided trauma of the broken past—she will always see blood on the leaves.
Consequences of a Moonless Night deepens its native primitivism through humor, surrealism, and soul-searching lyricism. These poems take the reader on a journey where a grandmother "walks with the Beast of the Apocalypse on a leash" into visions of grief, eroticism, and an indelibly reflective reticence that continues to unfold with each reading. "Indeed, these poems sing with a language born of experience, a life closely examined and fully lived."--Richard Foerster, Final Judge Message In A Bottle A green bottle washes up on a beach. It is very old. It is not glass but something the sea has made by erasure. The message inside is written in blackberry juice. No one knows how to translate its language except by the cardio-bleats that tremored in the hand that wrote it, the hand bent by the curve of the horizon, calculating a rescue, a possible escape.