An intense, sumptuous prose-poetry exploration of inspiration, sacrifice and art.
With uninhibited brush strokes, Gale’s impassioned debut offers an extended, self-reflexive allegory of artistic abnegation and creation. The author marries the characterization of prose to the sensuality and linguistic precision of poetry in a form she dubs a “poemella.” She introduces Patrice, a perpetually young but weary 500-year-old muse, to Louis, an artist stripped bare by loss. His family and friends were lost in the Holocaust, while he was secretly carried to freedom in a coffin, alive. Over the course of 10 years, Louis paints Patrice two dozen times, and their relationship is an evolving but always volatile combination of love and war. Patrice has spent centuries defined and limited by the male gaze, ever the nude on the red velvet couch; she’s not unlike the “captive ships slaved to the berth…waiting and waiting to unleash their bodies from land.” In Louis, she finds an artist who promises, “I will do anything you ask. All artists give up something when / they paint. I will give you everything, everything, everything.” Tired of passivity, she demands increasingly more of Louis—“We should sacrifice something of yours that causes you anguish,” she suggests—while also giving him more than she’s ever given to any other painter. Like Oscar Wilde’s Dorian Gray, Patrice desires immortality and release simultaneously, while Louis “[s]ecretly…mourn[s] his impotence / his inability to create without destruction.” In similarly Wilde-an fashion, Patrice doles out wisdom epigrammatically—“Nothing in art is to be despised” or “Only the unauthentic is ugly in art. If you continue to deceive / yourself, then you deceive art”—while Louis’ painting becomes more surreal. Much like her heroine, Gale strings “her words / with fine needle and thread, each letter a pearl, each line of her T a cross / between reality and fiction.” In Gale’s case, the pearls sometime hang chokingly thick, and the decadence of her imagery occasionally gives way to sickeningly sweet decay. It’s often exhausting but also oddly appropriate to the project’s intense, inward-looking aestheticism.
A baroque, sensual tour de force that elevates art above all else.
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.