Williams picks up the baton from Maya Angelou, raising her voice to decry racism and sexism in America.

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Quite Happy


In her debut chapbook of 18 timely poems, Williams (Humanities/Forsyth Technical Community Coll.) illuminates the African-American condition.

“To be black and happy in America is a fundamental paradox,” Williams says. The title’s qualified optimism thus reflects her ambivalence—celebrating black community and traditions on the one hand, condemning institutional racism on the other. “For Dubois” pinpoints poverty and a divided self as the common lot of African-Americans, while “Abandoned Aprons” shows how the place of black women is still defined by societal expectations. It’s not all outrage, though; some verses are pastoral recollections of a Southern upbringing (“mason jars / full of sweet tea”) or hymns to female solidarity (“Sister Speak”). Marriage and motherhood offer symbolic opportunities to join with ancestors in making a beautiful “tapestry” from “fraying ends.” Williams makes superb use of alliteration and sibilance to create chanting rhythms and gentle paradoxes: “unscathed but scarred…sweetly street” and “we savored your sullied beauty”—the latter expressing compassion toward Gil Scott-Heron rather than dismissing him as an addict. The book’s core is a handful of timely protest poems. The best one, “Meanwhile in America…,” contrasts inane celebrity culture (“Kimye births…While Miley twerks”) with Trayvon Martin’s wrongful death through the ironic refrain: “The system works / And Zimmerman walks.” Slant rhymes add to the sense of things being not quite right. “Diallo,” about the Guinean immigrant shot by New York City police in 1999, reminds us that police brutality is nothing new. Williams also defies opinions about the advances of the Obama administration: “Things ain’t better. / We ain’t making progress,” she insists. Likewise, “The If/Then Promise” flies in the face of sanctioned responses to violence: “I will not quote MLK….I will not seek calm.” Not quite happy, but with police or gunmen violence against African-Americans in the news seemingly every week, it’s justified. Books like Williams’ wield power to convince readers that black lives matter.

Williams picks up the baton from Maya Angelou, raising her voice to decry racism and sexism in America.

Pub Date: June 12, 2015

ISBN: 978-0-692-46944-6

Page Count: 56

Publisher: Library Partners Press

Review Posted Online: Sept. 15, 2015

Kirkus Reviews Issue: Oct. 15, 2015

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A volume of poetry and prose that offers heroic visions of urban African Americans.


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.

Pub Date: March 10, 2011

ISBN: 978-1-4568-8093-4

Page Count: 124

Publisher: Xlibris

Review Posted Online: Jan. 6, 2020

Kirkus Reviews Issue: March 15, 2020

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A nihilistic poetic remembrance that will appeal most to older teens and 20-somethings.


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.

Pub Date: May 25, 2018

ISBN: 978-1-71806-449-2

Page Count: 143

Publisher: Nada Blank Press

Review Posted Online: Nov. 24, 2018

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