Half poetry, half photography, this new collection is a cannily crafted hybrid.
Olsen’s poetry, which drives her book, is loosely divided into sections built around three themes: light and darkness, love and “blissful surrender.” Pieces of the first appear in “Beauty’s Passing”: “And yet here I now stand, / here in this sliver of time, / watching dark shapes / where gloom pervades / in harrowing fashion.” Much of her verse feels similar—compact, approachable, unpretentious. In other pieces, her lines stretch out and flow, notably in a touching ode to her husband, “On Seeing the Invisible”: “Standing above the fog he surveys the unseen, memories rising up from times past, faint drumbeats bearing messages from uncounted and discounted ancestors.” The telling shift between “uncounted” and “discounted” is both lovely and provocative, and Olsen fills her poetry with such subtle wordplay. This is clever work, but the author is too circumspect to flaunt her talent; she often sneaks wit in at the ends of lines, letting it hit late, when her reader is perhaps less guarded. The “bliss” that infuses the last section of the book is perhaps—or sometimes—the joy of mystical union. Thus, in “Stillness Is Not Silence,” she opens, “When silence descends, / I sink into the sound of stillness, / the symphony of all symphonies, / the universal hum, / God’s voice holding me aloft.” That she engages the spiritual makes sense given her academic training in religious studies. Perhaps the book’s only flaw is the fact that the colorphotographs she pairs with her poems occasionally overwhelm them. Especially striking is the landscape Olsen matches with “Tall Grasses in the Wind”: A lush hillside meets blinding blue sky in the background, while an enticing waterway bisects the photograph lengthwise. The picture is so pleasant readers might almost forget the poem that accompanies it.
A deftly balanced mélange of word and image to delight both the mind and the eye.
A debut multigenre collection of short pieces presents vignettes focusing on the lives of African Americans from a variety of perspectives, both real and fanciful.
This eclectic anthology begins with an autobiographical sketch, “P Is for Pride and Perseverance,” in which King traces his early years from his 1979 birth to a 16-year-old mother to his incarceration for attempted robbery and his subsequent determination to do something positive with his life. “Baby Girl” reprises the story of King’s birth from his mother’s point of view, a girl whose teen pregnancy seems predestined by both her grandmother’s clairvoyant dreams and her own limited expectations. Other narratives are linked by shared characters, such as “Posse Up, Ladies First!” and “Thug Angel,” which provide somewhat idealized portraits of street gangs as building blocks of the black community. “Battle Kats” is an SF work about a group of humanoid felines from another planet who work undercover to defend Earth and its alien allies. The central section of the book is occupied by a collection of 21 poems. Some, like “Hold on to Love” and “Away From Home,” focus on romance while others, such as “The Rent Is Too Damn High!” and “Blockstars,” illuminate the experiences of working-class African Americans in inner-city neighborhoods. “Remember Me?” calls up the spirit of LaTasha Harlins, a young black woman shot by a Los Angeles shop owner in the early ’90s, speculating “I wonder what you could have been LaTasha?” King’s efforts to describe his personal struggles and the vibrant characters who populate impoverished black communities are ambitious and dynamic. His prose narratives are too short to feel really complete, but they deliver glimpses into a world mainly familiar to the urban poor, where drug dealing is one of the few available career choices, incarceration is a rite of passage, and street gangs view themselves as community leaders. While the author does have a tendency to romanticize life on the street, as in “Posse Up,” in which a girl gang maintains a strict “code of principles,” his writing presents a vision of what could happen if people worked to “play a part in the improvement of the community.”
A volume of poetry and prose that offers heroic visions of urban African Americans.
Davis recounts the confounding pressures of his 1990s childhood in this debut memoir-in-verse.
When telling the story of your life, one might as well start at the very beginning. That’s exactly what the author does in this memoir, which he describes as “a thing like a very long lie to yourself.” Specifically, he tells of how “The White-Gloved Sheriff / kicked in the door / and / Pulled me” from his mother (whom he calls his “Supervisor”; he later calls her “the Computer Science Major,” “the Waitress,” and other occupational names). Unusually, he had horns and a lot of hair at birth, he says. He was immediately at odds with the people and other living things around him—his parents, his brothers, his family dog. As a toddler, he created an imaginary world for himself known as “FU,” which was “Filled with things that looked like me / And where things made sense / I was King.” His earliest years were characterized by horrible discoveries (school work, isolation, crushes, problems in his parents’ marriage), but his teen years proved to be an even greater series of highs and lows, involving confusion over geopolitical events, friends, computers, pornography, and marijuana. Like a novice who can’t quite figure out the rules of a game, Davis bumbles forward—all horns and fur and misunderstanding—inadvertently angering authority figures as he seeks an adequate method of self-expression. The poem is composed in short, direct lines, enjambed to emphasize particular words or phrases rather than establish a consistent overall rhythm. Davis’ idiolect is inventive in its names for things (siblings are “life partners,” pets are “prisoners,” teachers are “Part-Time Supervisors,” and so on), and his outsider’s observations of society are shrewd and often funny. However, the combination of snark and self-seriousness causes some poems to come off as petulant and cloying; as a result, it’s difficult to imagine anyone over the age of 22 finding the work emotionally affecting. Even so, the tone and style, coupled with debut artist Klimov’s truly engaging black-and-white illustrations should captivate readers of a certain anarchic mindset.
A nihilistic poetic remembrance that will appeal most to older teens and 20-somethings.