A National Poetry Series winner, chosen by Edward Sanders.
From Lollapalooza to Carnegie Hall, Patricia Smith has taken the stage as this nation’s premier performance poet. Featured in the film Slamnation and on the HBO series Def Poetry Jam, Smith is back with her first book in over a decade—a National Poetry Series winner weaving passionate, bluesy narratives into an empowering, finely tuned celebration of poetry’s liberating power.
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Patricia Smith is the author of six volumes of poetry, including Shoulda Been Jimi Savannah, winner of the 2013 Lenore Marshall Poetry Prize from the Academy of American Poets and the Phillis Wheatley Award from the Quarterly Black Review; Blood Dazzler, a finalist for the 2008 National Book Award and Teahouse of the Almighty, a National Poetry Series selection. Her work has appeared in Best American Poetry, Best American Essays and Best American Mystery Stories. Professor for the City University of New York and a Cave Canem faculty member, she lives in New Jersey with her husband, Edgar Award–winning novelist Bruce DeSilva, and her dogs Brady and Rondo.
Starred Review. Smith appears to be that rarest of creatures, a charismatic slam and performance poet whose artistry truly survives on the printed page. Present at the creation of the slam in early-'80s Chicago and included in seminal films and anthologies, Smith (Big Towns, Big Talk, 1992) receded from the scene in recent years after her career as a newspaper journalist ended in scandal. This National Poetry Series–winning volume marks a triumphal return, showing an energetic writer with four urgent subjects. She depicts endangered children. She celebrates sex and sexuality, from the public display of celebrities to the power of the female orgasm: "Don't hate me because I'm multiple." She considers the heritage of black American art, in musical performance and in writing. Finally, she describes the experience of performance itself, with all its pride and embarrassment: "Angry, jubilant, weeping poets... we are all/ saviors, reluctant hosannas in the limelight." Several poems also animate the troubled lives of famous blues singers; elsewhere, a mother considers how her incarcerated son became a "jailhouse scribe." A superb variety of lines and forms—short and long, hesitant and rapid-fire—gives the book additional depth. Smith even offers fine advice: "Breathe/ like your living depends on it." (Sept.)
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