4.5 stars
Absolutely. This was incredible. I could tell from the first page that this was going to be beautiful. Of course, like all good poetry, some of it went completely over my head. There were definitely some poems that I liked more than others. But as a whole, this was an incredible collection. I can't wait for this book to come out so that more people can read it and I can sticky-tab the heck out of a physical copy.

Stunning in the same way that other collections like Swallowtail have been. Marshall's poetry is approachable and deep in the same breath, leaving me feeling like I was peeling it away layer by layer.

(I received an ARC from Netgalley in exchange for an honest review.)
In the tight world of excellent Chicago poetry, Nate Marshall is a big deal, first known as a teen who blew up the stage at Young Chicago Authors' Louder Than a Bomb slam competitions. He then went from being a stage poet to a page poet. That orality still informs Marshall's poems, as in the playful sonnet "habitual." Lines like "i be but i don't is. i been & i/am one who be on my own biz. i love/not a b___. but see know I been loved ..." beg to be spoken aloud, and Marshall offsets the formality of pentameter with internal rather than end rhymes. Mostly free verse, Marshall's poems seem effortlessly colloquial, but note the alliteration and assonance in "scruples," which tips its hand with its ode-like invocation: "O, small keeper of my failure at the 4th grade spelling/ bee. i loved the way my mouth cupped your vowels/ like a spoonful of newly cooled soup." Tenderness and tough pragmatism alternate in this collection, His poems honor women, his family, and the people he grew up with, aching with acknowledgement of generations of sacrifice and small triumphs. In "welcome to how the hell i talk," Marshall humblebrags, "demographics: 35 percent Missibamaisiana-isms/ from the Up South old folks. 20 percent/ magnet school doublespeak. 15 percent white girl/ whispering in the suburbs or summer camps./ 18 percent too many rap records. 12 percent my/ mom's work voice." He knows where he's from, where he's going, and where he is right now. The title of one poem, written in all caps, shows his dual purpose, "I THOUGHT THIS POEM WAS FUNNY BUT THEN EVERYBODY GOT SAD." Marshall refuses to surrender. In the title poem, one section promises, "'even when i've been a broken boy i know i'm fixing to/ get fixed. i'm finna be better.every dream i have is a finna/ away from achievement. each new love i uncover is a finna/i unfold." Hand this book to anyone trying to find hope and generosity of spirit despite the damage around us. And then, like the bold and protean Nate Marshall, "take on this wide world/ with a whole slang for possibility."

Finna is the latest collection by Nate Marshall. I became familiar with Marshall’s poetry a couple of years ago during National Poetry Month when I read his collection, Wild Hundreds. I was impressed by that collection and was excited to read his new collection.

The poems showcased in Finna show the poet’s progression as an artist since his prior collection. The collection contains 4 sections. One of the sections is entitled, “What’s My Favorite Word?” Lovers of hip hop recognize the nod to Too Short. Many of the poems exude hip hop culture. Another theme of the collection is Chicago, Marshall’s hometown. He brilliantly describes his childhood in Chicago as well as landmarks throughout the city.

Another aspect of the collection I enjoyed was quotes from different writers, poets and thinkers that enhanced Marshall’s poems.

I was given the opportunity to review an advanced copy of this book via NetGalley.

I would read this with 11/12 graders due to language but you could use many of these poems in the classroom, Marshall has a way of inviting you in to his poems without sacrificing the authenticity that rings in them.
For example, I am a white lady in Florida. I do not know every slang word he references when speaking of Chicago, but I can appreciate the poem and realize that I am not the intended audience for every poem. I think this collection will speak to many young Black students in ways that others texts will not.

I always feel like I'm taking a chance when I read a poetry collection. If I'm not lucky I find myself twelve layers deep in metaphor with my eyes glazing over and no idea what the poet was going for. That is not this book. This poetry doesn't pull the punches and it's great.

This was absolutely gorgeous. I think I highlighted more phrases than I thought possible. There were so many moments that stuck with me as special, and the collection of poems flowed beautifully throughout the book. I could feel the connection between the author and history and setting, and I loved every moment of it.

Expanding on themes of racism, history, vernacular, and relationships, this book left a lasting impact even after I put it down. The approach to language and repetition, especially when it came to names, really drilled in the importance of what we say and how we say it.

I'll be recommending this to everyone I know and likely re-reading it ASAP.