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This collection of poems begins rooted in the landscape of the U.S. South as it voices singular lives carved out of immediate and historical trauma. While these poems dwell in the body, often meditating on its frailty and desire, they also question the weight that literary, historical, and religious icons are expected to bear. Within the vast scope of this volume, the poems arc from a pig farmer’s funeral to Georges de la Tour’s paintings and Toni Morrison’s Beloved. With an ear tuned to the lift and lilt of speech, they wring song from sorrow and plant in every dirge a seed of jubilation. Rich in clarity and decisive in her attention to image, Natalie J. Graham writes resonant, lush poetry.
This collection of poems begins rooted in the landscape of the U.S. South as it voices singular lives carved out of immediate and historical trauma. While these poems dwell in the body, often...
This collection of poems begins rooted in the landscape of the U.S. South as it voices singular lives carved out of immediate and historical trauma. While these poems dwell in the body, often meditating on its frailty and desire, they also question the weight that literary, historical, and religious icons are expected to bear. Within the vast scope of this volume, the poems arc from a pig farmer’s funeral to Georges de la Tour’s paintings and Toni Morrison’s Beloved. With an ear tuned to the lift and lilt of speech, they wring song from sorrow and plant in every dirge a seed of jubilation. Rich in clarity and decisive in her attention to image, Natalie J. Graham writes resonant, lush poetry.
A Note From the Publisher
Natalie J. Graham is an assistant professor of African American studies at California State University, Fullerton. Winner of the Cave Canem Poetry Prize.
Natalie J. Graham is an assistant professor of African American studies at California State University, Fullerton. Winner of the Cave Canem Poetry Prize.
Advance Praise
"Graham’s intellectual tentacles are long, and her imagination is
generous. She is constantly searching for something to pull into the
body, to feed the body. Her verse is terse, marked by technical
compaction, and yet it is simultaneously grandly encompassing and
voracious in its interests. In her we have a poet acutely sensitive to
the ways of the body, its betrayals, its pleasures, and its unknowable
selves. She is an exciting new voice, but this claim of ‘newness’ seems
almost trite, as there is nothing ‘new’—at least not in the sense we
might apply it to a novice’s work—about the authority, wisdom, and
daring we find in these poems."--Kwame Dawes
"Graham’s intellectual tentacles are long, and her imagination is generous. She is constantly searching for something to pull into the body, to feed the body. Her verse is terse, marked by...
"Graham’s intellectual tentacles are long, and her imagination is
generous. She is constantly searching for something to pull into the
body, to feed the body. Her verse is terse, marked by technical
compaction, and yet it is simultaneously grandly encompassing and
voracious in its interests. In her we have a poet acutely sensitive to
the ways of the body, its betrayals, its pleasures, and its unknowable
selves. She is an exciting new voice, but this claim of ‘newness’ seems
almost trite, as there is nothing ‘new’—at least not in the sense we
might apply it to a novice’s work—about the authority, wisdom, and
daring we find in these poems."--Kwame Dawes
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