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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.”
A NATIONAL BOOK AWARD FINALIST Part historical fiction, part fable, and 100 percent adventure. Thirteen-year-old Mei reimagines the myths of Paul Bunyan as starring a Chinese heroine while she works in a Sierra Nevada logging camp in 1885. Cover may vary. Aware of the racial tumult in the years after the passage of the Chinese Exclusion Act, Mei tries to remain blissfully focused on her job, her close friendship with the camp foreman's daughter, and telling stories about Paul Bunyan--reinvented as Po Pan Yin (Auntie Po), an elderly Chinese matriarch. Anchoring herself with stories of Auntie Po, Mei navigates the difficulty and politics of lumber camp work and her growing romantic feelings for her friend Bee. The Legend of Auntie Po is about who gets to own a myth, and about immigrant families and communities holding on to rituals and traditions while staking out their own place in the United States.
Announcing the newest winner of the oldest annual literary prize in the United States
The 112th volume of the Yale Series of Younger Poets explores the Vietnamese-American experience
This volume of the Yale Series of Younger Poets explores love, grief, the opioid epidemic, and coming of age "Elegiac and witty."--Elisa Gabbert, New York Times, "The Best Poetry of 2022" "These poems name the hurt wrought upon the meek that makes the elegy, here, as much an exaltation of the living as a mournful dirge for the land."--Major Jackson, Vanderbilt University The 116th volume of the Yale Series of Younger Poets, Robert Wood Lynn's collection of poems explores the tensions of youth and the saturation points of knowledge: those moments when the acquisition of understanding overlaps with regret and becomes a desire to know less. Comprising poems of place set across the Virginias, this collection includes an episodic elegy exploring the opioid crisis in the Shenandoah Valley as well as a separate series of persona poems reimagining the Mothman (West Virginia's famed cryptid) reluctantly coming of age in that state's mountains and struggling with the utility of warnings. These are narrative poems of love and grief, built from a storytelling tradition. Taken together they form an arc encompassing the experience of growing up, looking away, and looking back.
This year’s winner of the Yale Series of Younger Poets competition is Sean Singer’s Discography. Playful, experimental, jazz-influenced, the poems in this book delight in sound and approach the more abstract pleasures of music. Singer takes as his subjects music, jazz figures, and historical events. Series judge W. S. Merwin praises Singer for his “roving demands on his language” and “the quick-changes of his invention in search of some provisional rightness.”
Originated in 1919 to showcase the works of exceptional American poets under the age of forty, the Yale Series of Younger Poets prize is the oldest annual literary award presented in the United States. Ansel Elkins’s poetry collection, Blue Yodel, is the 109th volume to be so honored. Esteemed poet and competition judge Carl Phillips praises Elkins for her “arresting use of persona,” calling her poems “razor-edged in their intelligence, Southern Gothic in their sensibility.” In her imaginative and haunting debut collection, Elkins introduces readers to a multitude of characters whose “otherness” has condemned them to live on the margins of society. She weaves blues, ballads, folklore, and storytelling into an intricate tapestry that depicts the violence, poverty, and loneliness of the Deep South, as well as the compassion, generosity, and hope that brings light to people in their darkest times. The blue yodel heard throughout this diverse compilation is a raw, primal, deeply felt expression of the human experience, calling on us to reach out to the isolated and disenfranchised and to find the humanity in every person.
"Rajiv Mohabir's Cutlish uses history to interrogate the word "home" and all that it might mean to those who thrive in spite of homophobia, stereotype, and xenophobia. These poems are grounded in definite time and space in a voice that refuses to be silenced, "They are vexed you survive; that you/rise up from the pavement..." But what I love most is read a poet as disciplined and committed as Mohabir as he transforms and reinvents himself in tone, in subject, and in line: "Let's get one thing queer-I'm no Sabu-like sidekick,/I'm the main drag. Ram Ram in a sari; salaam//on the street. I don't speak Hindu, Paki, or Indian,/can't control minds, have no psychic powers." Jericho Brown Cutlish, Rajiv Mohabir's stunning new collection, asks urgent questions about queer identities, diaspora and silence. Deeply grounded in 1838, the year the first ships brought indentured servants from India to Guyana, Cutlish reckons with the relationship between language and violence. These poems challenge the colonizer's English through Creole, Sanskrit, Hindi, Hindustani and Chutney songs, dazzling us at every turn: "May each face who ever said, Speak English / find their own tongue fettered and split, / my mixed blood blackening their faces." The book's title evokes the violence of a cutlass, and everywhere here we see language as knife and blade but also as solace. Cutlish is a luminous, beautiful book. Rajiv Mohabir is one of the most important poets writing today. --Nicole Cooley"--
Winner of the 2016 Yale Series of Younger Poets prize A fresh and rebellious poetic voice, Airea D. Matthews debuts in the acclaimed series that showcases the work of exciting and innovative young American poets. Matthews's superb collection explores the topic of want and desire with power, insight, and intense emotion. Her poems cross historical boundaries and speak emphatically from a racialized America, where the trajectories of joy and exploitation, striving and thwarting, violence and celebration are constrained by differentials of privilege and contemporary modes of communication. In his foreword, series judge Carl Phillips calls this book "rollicking, destabilizing, at once intellectually sly and piercing and finally poignant." This is poetry that breaks new literary ground, inspiring readers to think differently about what poems can and should do in a new media society where imaginations are laid bare and there is no thought too provocative to send out into the world.
No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.