The New Black (Wesleyan Poetry Series)

By Evie Shockley

Shrewdpermanent, grounded, and lyrical, Evie Shockley’s the new black integrates robust principles approximately “blackness,” previous and current, in the course of the medium of fantastically crafted verse. the new black sees our racial prior unavoidably shaping our modern second, yet struggles to recollect and reckon with the impression of generational shifts: what appeared very unlikely to humans now not decades ago—for instance, the election of an African American president—will have continuously been part of the area of youngsters born within the new millennium. the entire poems right here, even if sonnet, mesostic, or deconstructed blues, show a proper aptitude. They communicate to the adjustments we now have skilled as a society within the previous few decades—changes that regularly problem our previous ideas for resisting racism and, for African american citizens, methods of in relation to each other. The poems embody a proper ambiguity that echoes the uncertainty those shifts produce, whereas reveling in language play that allows readers to “laugh to maintain from crying.” They go through nostalgia, whilst they insist on being alive to the current and element longingly in the direction of attainable futures.

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27 where you're planted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 a history in track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 ode to my blackness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 the chilly to determine the minus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 love existence, with stitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 riven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 by no means after . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 an issue of stability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 on new year’s eve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 the chilly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty out with the recent owed to shirley chisholm : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty one bop for presidential politics, c. 2008 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty two getting round utopia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty three you can’t deny it . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty four womanish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty five duck, duck, redux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty eight simply because there can be love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty nine improper(ty) habit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 on the musée de l’homme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty one a question of survival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty two soundtrack for a generational shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty three revisiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty four her desk mountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty seven notes to my nieces (or, essays in fortune-telling) . . . . . . . . . . . . . . . . . . . . . . . . . . sixty nine coming of age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy one go-go tarot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy two quiet as it’s stored . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy four this night i observed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy five salty (extended play) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy seven explosives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy eight (mis)takes one to understand one . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eighty post-white . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eighty two the fare-well letters the fare-well letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eighty five expensive ace bandage expensive cuddly dharma expensive existential fallacy dear present horse expensive ink jet expensive kerosene lamp expensive mid-afternoon nap pricey opaque coverage expensive quaalude residue pricey security try out pricey premature violet expensive white yule expensive yesterday’s 0 n o t e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . one zero one a c okay n o w l e d g m e n t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 This web page deliberately left clean my final modernist poem, #4 (or, re-re-birth of a country) a clean-cut guy brings a brown blackness to a dream-carved, exceptional position.

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