Review by Jo Freehand: Current Events

Dear Readers,

Jo1.png

June’s newsletter did not include my previously scheduled book review. The yet two more police murders of Breonna Taylor and George Floyd, as well as the lynching* of Ahmaud Arbery, left me less than enthusiastic to write about or address anything else. I remain so.

My one desire right now is to acknowledge current events. By “current,” I mean since the beginning of our country. By “events,” I mean white supremacy. And, by “acknowledge,” I mean temporarily setting aside my essay-writing self to highlight a few Black poets in lieu of a review. Black poets who were already writing about white supremacy.

 *See endnote on lynching.

Beginning with Donte Collins from “What the Dead Know by Heart”

[…] I wonder
often: if the gun will unmake me
is yet made, what white birth

will bury me, how many bullets, like a
a flock of bluejays, will come carry my black,
to its final bed, […]

 For Donte Collins’s 2017 sharing of the full poem click hereSee Collins’s website here.

 
My Love Is Black” by DéLana R.A. Dameron, 2018

I don’t want to love 
like this. But there is a gun
in the holster & a hand
on the gun in the holster
& my husband’s hands
are no longer in his pockets
because it is night & we are
just trying to breathe […]

 You can find DéLana R.A. Dameron’s website here and the full poem here.

 
What Shall I Tell My Children Who Are Black (Reflections of an African-American Mother)” by Dr. Margaret Burroughs, 1963 

What shall I tell my children who are black
Of what it means to be a captive in this dark skin
What shall I tell my dear one, fruit of my womb,
Of how beautiful they are when everywhere they turn
They are faced with abhorrence of everything that is black.
Villains are black with black hearts.
A black cow gives no milk. A black hen lays no eggs.
Bad news comes bordered in black, black is evil.
And evil is black and devil’s food is black …

Dr. Burroughs’s reading of this poem can be found here.

 
From Parnesha Jones’s What Would Gwendolyn Brooks Do

  Another day, when I have to tip-toe
around the police and passive-aggressive emails
from people who sit only a few feet away from
me.
Another day of fractured humans
who decide how I will live and die,
and I have to act like I like it
so I can keep a job;
be a team player, pay taxes on it;

To read more click hereParneshia Jones’s website can be found here.

 
From “alternate names for black boys” by Danez Smith, 2014

  4. coal awaiting spark & wind
5. guilty until proven dead
6. oil heavy starlight
7. monster until proven ghost
8. gone

Read full poem here and Danez Smith’s website here.

 
Closing with Langston Hughes, “Let America Be America Again,”1939

Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.

(America was never America to me.)

Find Hughes’s full poem here and a 2017 reading of this poem by Danez Smith here.

 

Black Lives Matter.
 Black Voices Matter. Black Poetry Matters.

 Please consider donating to:

Black Lives Matter
NAACP

 
Lynching is an act of terroristic murder in which the perpetrators feel entitled, on the basis of their identities, to police others on the basis of their identity. These extrajudicial executions are meant to exert control, not only over victim, but also over an entire community or group of people to determine what spaces that community have the right to exist in, or whether to exist at all. Moreover, the perpetrators, on the basis of their own identities and the identities of the victims, do not expect to be held accountable for their violence.

The term lynching is often understood more narrowly as white mobs murdering Black people, usually men, as acts of public spectacle justified by false claims of having committed some crime, usually the rape of a white women. However, these acts of terror can be carried out in private by just a few people, or be carried out against non-Black people. For example, white, straight men lynched Matthew Shepherd because he was gay, and did so in the dark, far from public view.

 

Review by Jo Freehand: John Sibley Williams’ Skin Memory

Feeling It

Skin Memory (The Backwaters Press, 2019)  The Backwaters Prize in Poetry Paperback, pp. 96 ISBN: 978-1-935218-50-0

Skin Memory (The Backwaters Press, 2019)
The Backwaters Prize in Poetry
Paperback, pp. 96
ISBN: 978-1-935218-50-0

Skin Memory is John Sibley Williams’s fourth collection of poetry, not counting six chapbooks. It’s his second collection in one year (2019). You read that right, second in one year.  Hang on, there’s more. Skin Memory happens to be Williams’ second prize-winning collection in one year! Oh, yea, and one of those chapbooks, Summon, won a 2019 JuxtaProseChapbook Prize.

In spite of that, it wasn’t how prolific Williams is or that he happens to be a nineteen-time Pushcart nominee or the long list of other awards he’s received that drew me to this book. Admittedly it was much more superficial than that. It was the flesh of the title that slowed me down enough to want to take a longer look. The sound of the title, Skin Memory, was conjuring a myriad of images well before I even opened the book and looked beneath its epidermis.

Pulled me right in to:

Because you are what song breaks open your throat […]

Please pretend this sentence is three rows of exclamation marks in bold 48-point font. May I repeat? “Because you are what song breaks open your throat […]” Be still my heart. Between the title and the first half of the first line of Williams’s opening poem “Skin Memory,” I knew this was a book I wanted to read. And so, it goes: 

[…]                                                                              and because the
same century burns a different mark into me. For now I can just listen.
To how choreographed our forgetting. To the dark little narratives of

How could one not want to read more?

And, then, by the end of the opening poem, I’m not so confident that I’m comprehending; not completely. I’m certainly feeling it. Yet, I know there’s much that I’m not understanding. I’m intrigued and want to know more. I want a tour guide or, at least, a button on the page that I can press that will vocalize John Sibley Williams’s commentary.

Fully following it or not, one thing was certain, those first lines were already, already, following me. I felt it. And I welcomed this new conversation. “Because you are what song opens your throat and because the same century burns a different mark into me.” How beautiful is that? Do you feel it? It’s rich. It’s textured. It slows one down. It’s fresh and there’s something else, something clearly right outside the edge of words and poetic analysis. It’s something in that place where lyric meets melody.

Here, try these lines from “New Farmer’s Almanac.” Say them aloud three or four times:

             […] At least the world
  still smells like the world:
dirt-rich, deliberate,
as much oak as animal.

Then repeat, aloud, the following from “Advice Picked Up Along the Way” and, again, hear the sound of poetry that takes us beyond words to a place of feeling poetry.

            […]  but the weight feels right
for the deeds we drag behind us. […]

This is poetry that begs engagement. Not Twitter-length engagement or skim-the-headlines engagement or text message engagement. It seeks - or maybe it offers - a slow, line-by-line, word-by-word, deep engagement. Lines seem to ask to be repeated. Poems seem to say, “Now go get a glass of water, look at the cardinals at the feeder, then come back and we’ll talk some more.” And in reading Williams’s poetry aloud, over-and-over, in an attempt to hear what the poem has to say, its musicality has me feeling as much as, if not more than, thinking. And in that place of feeling, understanding expands. Skin Memory is multilayered poetry revealing itself with each reading.

 There is poetry within poetry. This poet brings tight lines that could stand, on their own, as full poems:

 From “Sons of No One”:

            So far all the suicides have been men
in my family. […]

Here’s another, a line from “Tonight’s Synonyms for Sky”:

             […]                                The thing
about the sky is: whatever names 
we give it are as temporary as those
we keep giving and erasing from
ourselves. […]

Skin Memory is not fluffy. For example: “If I could reconcile the fullness/of the moon, of the black oak/tonight’s moon illuminates, /with the bodies I’ve seen/in photographs hanging […]”

The terrain is scarred with cruelty, loss, inheritance, and what it means to be a child, a man, a father.

 From “Hekla (Revised)”:

             […] In time, lava hardens into
landscape, and we walk over old fires
as if history cannot burn us. […]

Williams’ imagination and dedication as a wordsmith allows us to linger without becoming weighed down in despair. His verbs surprise with a delight that brings the reader in, closer. They create an intimacy. “Maybe it doesn’t take winter to make a tree/in winter or dewpoint to vague a morning field.” “[…] to vague a morning field.”!

His metaphors are equally difficult to gloss over or forget, “[…] stars thrown around/ the sky, like toys I’ve left scattered across the living room for people /bigger than me to trip over. […]”

In Skin Memory, Williams gives us plenty of opportunity to slow down and meet poems face-to-face. Plenty of opportunity to engage in deep conversation, to develop deep listening, to examine quick assumptions, and to see things anew. Plenty of opportunity to feel. Plenty of opportunity to resonate. Plenty of opportunity to connect.

JFreehand.jpg

Comments may be directed to Jo Freehand, Contributing Editor at:jfreehand@verizon.net