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In her debut poetry collection, Jasmine Elizabeth Smith takes inspiration from Oklahoma Black history. In the wake of the Tulsa Race Massacre of 1921, Jim Waters makes the difficult decision to leave behind his lover, Beatrice Vernadene Chapel, who as a Black woman must navigate the dangerous climate that produced the Jim Crow South and Red Summer. As Beatrice and Jim write letters to one another and hold imagined conversations with blues musicians Ida B. Cox, Robert Johnson, Charlie Patton, Ethel Waters, and the ghosts of Greenwood, the couple interrogates themes of blues epistemology, Black feminism, fraught attachments, and the way in which Black Americans have often changed their geographical regions with the hope of improving their conditions. The poetry collection South Flight is a eulogy, a blues, an unabashed love letter, and ragtime to the history of resistance, migration, and community in Black Oklahoma.
This one-of-a-kind collection of poems about the American South ranges over four centuries of its dramatic history. The arc of poetry of the South, from slave songs to Confederate hymns to Civil War ballads, from Reconstruction turmoil to the Agrarian movement to the dazzling poetry of the New South, is richly varied and historically vibrant. No other region of the United States has been as mythologized as the South, nor contained as many fascinating, beguiling, and sometimes infuriating contradictions. Poems of the American South includes poems both by Southerners and by famous observers of the South who hailed from elsewhere. These range from Herman Melville, Walt Whitman, Edgar Allan Poe, and Francis Scott Key through Langston Hughes, Robert Penn Warren, Wallace Stevens, Elizabeth Bishop, James Dickey, and Donald Justice, and include a host of living poets as well: Wendell Berry, Rita Dove, Sandra Cisneros, Yusef Komunyakaa, Naomi Shihab Nye, C. D. Wright, Natasha Trethewey, and many more. Organized thematically, the anthology places poems from past centuries in fruitful dialogue with a diverse array of modern voices who are redefining the South with a verve that is reinvigorating American poetry as a whole.
Poetry, prose, photos, and songs of the Civil War. The authors range from hawks to doves. In the former category, James Madison Bell wrote: "The pleasing duty still remains / To sing a people from their chains."
With lacerating honesty, technical mastery, and abiding compassion, Made to Explode offers volatile poems for our volatile times. In her fourth collection, acclaimed poet Sandra Beasley interrogates the landscapes of her life in decisive, fearless, and precise poems that fuse intimacy and intensity. She probes memories of growing up in Virginia, in Thomas Jefferson’s shadow, where liberal affluence obscured and perpetuated racist aggressions, but where the poet was simultaneously steeped in the cultural traditions of the American South. Her home in Washington, DC, inspires prose poems documenting and critiquing our capital’s institutions and monuments. In these poems, Ruth Bader Ginsberg shows up at the Folger Shakespeare Theatre’s show of Kiss Me Kate; Albert Einstein is memorialized on Constitution Avenue, yet was denied clearance for the Manhattan Project; as temperatures cool, a rain of spiders drops from the dome of the Jefferson Memorial. A stirring suite explores Beasley’s affiliation with the disability community and her frustration with the ways society codes disability as inferiority. Quintessentially American and painfully timely, these poems examine legacies of racism and whiteness, the shadow of monuments to a world we are unmaking, and the privileges the poet is working to untangle. Made to Explode boldly reckons with Beasley’s roots and seeks out resonance in society writ large.
This is the first book to celebrate the life and writing of one of the most charismatic Southern leaders of the middle twentieth century, Don West (1906-1992). West was a poet, a pioneer advocate for civil rights, a preacher, a historian, a labor organizer, a folk-music revivalist, an essayist, and an organic farmer. He is perhaps best known as an educator, primarily as cofounder of the Highlander Folk School in Tennessee and founder of the Appalachian South Folklife Center in West Virginia. In his old age, West served as an elder statesman for his causes. No Lonesome Road allows Don West to speak for himself. It provides the most comprehensive collection of his poetry ever published, spanning five decades of his literary career. It also includes the first comprehensive and annotated collection of West's nonfiction essays, articles, letters, speeches, and stories, covering his role at the forefront of Southern and Appalachian history, and as a pioneer researcher and writer on the South's little-known legacy of radical activism. Drawing from both primary and secondary sources, including previously unknown documents, correspondence, interviews, FBI files, and newspaper clippings, the introduction by Jeff Biggers stands as the most thorough, insightful biographical sketch of Don West yet published in any form. The afterword by George Brosi is a stirring personal tribute to the contributions of West and also serves as a thoughtful reflection on the interactions between the radicals of the 1930s and the 1960s. The best possible introduction to his extraordinary life and work, this annotated selection of Don West's writings will be inspirational reading for anyone interested in Southern history, poetry, religion, or activism.
Peach State has its origins in Atlanta, Georgia, the author’s hometown and an emblematic city of the New South, a name that reflects the American region’s invigoration in recent decades by immigration and a spirit of reinvention. Focused mainly on food and cooking, these poems explore the city’s transformation from the mid-twentieth century to today, as seen and shaped by Chinese Americans. The poems are set in restaurants, home kitchens, grocery stores, and the houses of friends and neighbors. Often employing forms—sonnet, villanelle, sestina, palindrome, ghazal, rhymed stanzas—they also mirror the constant negotiation with tradition that marks both immigrant and Southern experience. Excerpt from “You’re from the South?” As if it had never joined the Union. As if we had to go through Customs when bringing Vidalia onions to uncles and cousins in the North, where Confucians and their brethren flock for education. As if our speech required translation or at least interpretation. As if Hartsfield-Jackson were a plantation, the Amtrak Crescent a moon over rows of cotton, and all of us a population that never saw snow or migration.
Spring and All (1923) is a book of poems by William Carlos Williams. Predominately known as a poet, Williams frequently pushed the limits of prose style throughout his works, often comprised of a seamless blend of both forms of writing. In Spring and All, the closest thing to a manifesto he wrote, Williams addresses the nature of his modern poetics which not only pursues a particularly American idiom, but attempts to capture the relationship between language and the world it describes. Part essay, part poem, Spring and All is a landmark of American literature from a poet whose daring search for the outer limits of life both redefined and expanded the meaning of language itself. “There is a constant barrier between the reader and his consciousness of immediate contact with the world. If there is an ocean it is here.” In Spring and All, Williams identifies the incomprehensible nature of consciousness as the single most important subject of poetry. Accused of being “heartless” and “cruel,” of producing “positively repellant” works of art in order to “make fun of humanity,” Williams doesn’t so much defend himself as dig in his heels. His poetry is addressed “[t]o the imagination” itself; it seeks to break down the “the barrier between sense and the vaporous fringe which distracts the attention from its agonized approaches to the moment.” When he states that “so much depends / upon // a red wheel / barrow,” he refers to the need to understand the nature of language, which keeps us in touch with the world. With a beautifully designed cover and professionally typeset manuscript, this edition of William Carlos Williams’ Spring and All is a classic of American literature reimagined for modern readers.
Inheritance is a black sensorium, a chapel of color and sound that speaks to spaciousness, surveillance, identity, desire, and transcendence. Influenced by everyday moments of Washington, DC living, the poems live outside of the outside and beyond the language of categorical difference, inviting anyone listening to listen a bit closer. Inheritance is about the self’s struggle with definition and assumption.
Thoughts concerning art and experience by layering in one volume, the poet's fragments of dreams, lists, games, conversations, poems, and excerpts from notebooks, as a way of looking into the writing practice.