Reyes, Barbara Jane. Invocation to Daughters. San Francisco: City Lights, 2017. 86 pp (paper). $14.95.

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Reviewed by Soleil David

Barbara Jane Reyes’ fifth poetry collection Invocation to Daughters (City Lights, 2017) is a missal for Filipino women, one that uses Western poetic forms to utter an unapologetically transnational feminist poetics. In this collection, Reyes pushes against Spanish and American influences, the two patriarchs that have kept the Philippines abject for much of its history. The poems subvert Western tradition through the use of those same Western traditions, all while bringing in multiple languages, as well as ruminations on Filipino and Filipino-American culture. Continue reading this post…

Cunningham, P. Scott. Ya Te Veo. Fayetteville, AR: of Arkansas P, 2018. 96 pp (paper). $17.95.

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Reviewed by Michael VanCalbergh

Ya Te Veo by P. Scott Cunningham begins with the poem “Giles Corey.” This poem retells the story of a victim of the Salem witch trials who is executed by pressing, or slowly laying increasing weight on the victim until they die. During the poem, the townspeople continue placing more and more stones on Corey’s body, but get distracted and start to forget, exactly, for what it is they are punishing him. At the end of the poem, Corey continues to survive, seeing the “brown to red to black” of the sky and feeling like “Every breath arrived like a letter” (pg. 4). The poem ends with him saying “More weight” in challenge to his executioners. This move—from pessimism and darkness to continued piling to a type of resistance that asks for even more—is the perfect frame to discuss P. Scott Cunningham’s first collection of poems. Continue reading this post…

Martinez, David Tomas. Post Traumatic Hood Disorder. Louisville, KY: Sarabande, 2018. 72 pp., (paper). $15.95.

Reviewed by by Michael VanCalbergh

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Fitting in, however defined, is a complicated and universal part of life. Whether it be entering a specific community, a job, or something more individual, many feel the pangs of nervousness before we know whether we belong. But what happens after one has entered that space? When one crosses the line from the outside to finally become part of the group, how does one balance the person they were—their pasts, and prior experiences—with the person that they are now expected to be? David Tomas Martinez’s second book of poems, Post Traumatic Hood Disorder, explores this relationship between the past we bring with us and our present existence. For Martinez, the balance is between life before and after the publication of his first book, Hustle, along with all the things that change and those that do not. Continue reading this post…

Brinkley, Jamel. A Lucky Man. Graywolf. Minneapolis: 2018. 264 pp. $26.00 (cloth). [View Title on Goodreads]

Reviewed by Brian Gilmore

It was Edgar Allan Poe who wrote that “the long poem is a paradox.” Poe’s famous exploration of limitations of the long poem form was declared to shine brighter light on short story, or “the tale,” as he humbly calls it. According to Poe, the tale was more fitting for the “demands of high genius.” There is, Poe stresses, much more space to speak to seek a “truth” in the short story than in a poem.  Jamel Brinkley in his debut collection of short stories, A Lucky Man, has chosen the tale as his path to truth, though he writes often in a delicate lyric detail more often observed in poetry. Continue reading this post…

An Open Letter to the D.C. Commission on the Arts and Humanities
Regarding the Selection of
The District of Columbia’s Next Poet Laureate

Dear Director Espinoza, Commissioners and DCCAH Staff,

In the wake of the passing of our long tenured and highly respected Poet Laureate Dolores Kendrick, many in the poetry and writing community have wondered about the process by which her successor will be selected. Continue reading this post…

Reviewed by Pat Valdata

Continue reading this post…

Elhillo, Safia. The January Children. Lincoln,NE: U of Nebraska P, 2017. 72 pp. $15.95 (paper).

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*__________*__________*

As a writer who was born in Cameroon, a place imagined and conceived by Europeans, I continue to reflect on the impact of the encounter between those who named it and those who actually occupy it, and have grown to claim it.

Often, I have imagined them milling around a room in Otto Von Bismarck’s mansion, the Wilhelmstrasse; animated with the clipped chatter of diplomats and translators, a crude antiquated map of Africa spread out in the middle of an imperial sized table crammed with accoutrements of the era: delicate china, two giant elephant tusks, a mounted tiger, rose-filled clay pots, and gold-coated candleholders. Continue reading this post…

Hopper, Ailish. Dark~Sky Society. Kalamazoo, MI: New Issues, 2014. 97 pp. $15.00 (paper).

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Reviewed by Ellen Hagan

“The flash-/ bulb pops; the splash/ kerosene/ [door    behind]/and then the flint/ the arcing match—/ flame” ends Ailish Hopper’s opening poem: “Self Portrait as Smoke,” in her first full-length collection, Dark~Sky Society (12). As a reader, I was immediately pulled into the heat of this moment, pushed in an instant towards facing it—a larger society and the speaker’s place within it, violence, the body: “Terrible,/ I say, & change/ the subject, as if my body were/ diffused” (11). Hopper is relentless in her language—experimental, eccentric at times, cocky even as it bumps up against different expectations of what a poem should do. This collection often feels like a tight wire, so taut with a collective and personal grief and so weighed down by our shared and revolting history of race in America. Continue reading this post…

Allo, Viola. Bird from Africa. Brooklyn, NY: Akashic Press, 2015.

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Reviewed by Kangsen Feka Wakai

Viola Allo’s chapbook Bird from Africa is part of Akashic Books’ 8 New-Generation African Poets chapbook box set, which also features works from Nigeria, Ghana, Ethiopia, South Africa, Zimbabwe and Angola. Edited by Kwame Dawes and Chris Abani, the “new-generation African poets” series is in its second edition and, according to Dawes, aims to “publish seven to ten chapbooks by African poets each year” while ensuring that the poems in the series are “first rate, representative, and new.” The need for originality that Dawes speaks of is echoed by co-editor Abani who points out that unlike their predecessors of the “independence” and intermediary SAP (Structural Adjustment Programs) generation, the works of these “new-generation African poets” represent a “negotiation of a kind of modernist thought on the continent that the early rush to nationalism and to nationalize nascent states interrupted.” Continue reading this post…

Williams, Phillip B. Thief in the Interior. Farmington, ME: Alice James Books, 2016. 82pp. $15.95 (paper).

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Reviewed by Khadijah Queen

From the start, Phillip B. Williams’ Thief in the Interior situates the reader in sensorial language both abject and beautiful, horrific and tender. Leading with salt, sweat, breath, the body’s automatic excretions; threading in “a great system of clouds” (1), water, dew; injecting blood, earth, the moon—the book has an elemental quality that anchors the poems firmly into that ancient conversation about what it means to be human in a particular time and place. And, specifically, what it means to be a certain kind of body, one labeled “queer” and “Black” in a country with a long history of unjust and often unchecked violence toward such a body. Continue reading this post…