<P><B>Winner of the Hurston/Wright Legacy Award (2012)</B></P><P>Smart, grounded, and lyrical, Evie Shockley’s the new black integrates powerful ideas about 'blackness, ’ past and present, through the medium of beautifully crafted verse. the new black sees our racial past inevitably shaping our contemporary moment, but struggles to remember and reckon with the impact of generational shifts: what seemed impossible to people not many years ago—for example, the election of an African American president—will have always been a part of the world of children born in the new millennium. All of the poems here, whether sonnet, mesostic, or deconstructed blues, exhibit a formal flair. They speak to the changes we have experienced as a society in the last few decades—changes that often challenge our past strategies for resisting racism and, for African Americans, ways of relating to one another. The poems embrace a formal ambiguity that echoes the uncertainty these shifts produce, while reveling in language play that enables readers to 'laugh to keep from crying.’ They move through nostalgia, even as they insist on being alive to the present and point longingly towards possible futures. Check for the online reader’s companion at http://http://thenewblack.site.wesleyan.edu.</P>
Spis treści
<P>my last modernist poem, # 4 (or, re-re-birth of a nation)<BR>OUT WITH THE OLD<BR>my life as china<BR>from The Lost Letters of Frederick Douglass<BR>celestial<BR>mesostics from the american grammar book<BR>statistical haiku (or, how do they discount us? let me count the ways)<BR>good night women (or, defying the carcinogenic pen)<BR>her tin skin<BR>pink-think (a primer for girls of other colors)<BR>clare’s song<BR>a sonnet for stanley tookie williams<BR>in a non-subjunctive mood<BR>where’s carolina?<BR>x marks the spot<BR>received in spring<BR>the defense of marriage act, alternatives to<BR>dependencies<BR>him/body/meant, her/body/meant<BR>where you are planted<BR>a background in music<BR>ode to my blackness<BR>THE COLD<BR>to see the minus<BR>love life, with stitches<BR>riven<BR>never after<BR>a matter of balance<BR>on new year’s eve<BR>the cold<BR>OUT WITH THE NEW<BR>owed to shirley chisholm :<BR>bop for presidential politics, c. 2008<BR>getting around utopia<BR>you can’t deny it<BR>womanish<BR>duck, duck, redux<BR>because there should be love<BR>improper(ty) behavior<BR>at the musée de l’homme<BR>a question of survival<BR>soundtrack for a generational shift<BR>revisiting<BR>her table mountain<BR>notes to my nieces (or, essays in fortune-telling)<BR>coming of age<BR>go-go tarot<BR>quiet as it’s kept<BR>tonight i saw<BR>salty (extended play)<BR>explosives<BR>(mis)takes one to know one<BR>post-white<BR>THE FARE-WELL LETTERS<BR>the fare-well letters<BR>dear ace bandage<BR>dear cuddly dharma<BR>dear existential fallacy<BR>dear gift horse<BR>dear ink jet<BR>dear kerosene lamp<BR>dear mid-afternoon nap<BR>dear opaque policy<BR>dear quaalude residue<BR>dear safety test<BR>dear untimely violet<BR>dear white xmas<BR>dear yesterday’s zero<BR>Notes<BR>Acknowledgments</P>
O autorze
<P>EVIE SHOCKLEY is an associate professor of English at Rutgers University and the author of a half-red sea, the chapbook The Gorgon Goddess, and Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry.</P>
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