Brown: Poems

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James Brown. John Brown’s raid. Brown v. the Topeka Board of Ed. The prizewinning author of Blue Laws meditates on all things “brown” in this powerful new collection.“Vital and sophisticated … sinks hooks into you that cannot be easily removed.” —The New York TimesDivided into “Home Recordings” and “Field Recordings,” Brown speaks to the way personal experience is shaped by culture, while culture is forever affected by the personal, recalling a black Kansas boyhood to comment on our times. From “History”—a song of Kansas high-school fixture Mr. W., who gave his students “the Sixties / minus Malcolm X, or Watts, / barely a march on Washington”—to “Money Road,” a sobering pilgrimage to the site of Emmett Till’s lynching, the poems engage place and the past and their intertwined power. These thirty-two taut poems and poetic sequences, including an oratorio based on Mississippi “barkeep, activist, waiter” Booker Wright that was performed at Carnegie Hall and the vibrant sonnet cycle “De La Soul Is Dead,” about the days when hip-hop was growing up (“we were black then, not yet / African American”), remind us that blackness and brownness tell an ongoing story. A testament to Young’s own—and our collective—experience, Brown offers beautiful, sustained harmonies from a poet whose wisdom deepens with time.

Additional information

Weight 0.4 kg
Dimensions 2.1 × 15.9 × 23.6 cm
PubliCanadation City/Country

USA

Author(s)

Format Old`

Language

Pages

176

Publisher

Year Published

2018-4-17

Imprint

ISBN 10

1524732540

About The Author

KEVIN YOUNG is the director of the Schomburg Center for Research in Black Culture and poetry editor for The New Yorker. He is the author of twelve books of poetry and prose, including Blue Laws: Selected & Uncollected Poems 1995-2015, longlisted for the National Book Award; and Book of Hours, a finalist for the Kingsley Tufts Poetry Award and winner of the Lenore Marshall Prize from the Academy of American Poets. Young's book Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News, a New York Times Notable Book, was longlisted for the National Book Award and appeared on many "best of" lists for 2017. His collection Jelly Roll: A Blues was a finalist for both the National Book Award and the Los Angeles Times Book Prize for Poetry. His nonfiction book The Grey Album: On the Blackness of Blackness won the Graywolf Press Nonfiction Prize and the PEN Open Book Award, and was a New York Times Notable Book and a finalist for the National Book Critics Circle Award for criticism. He is the editor of eight other collections and was inducted into the American Academy of Arts and Sciences in 2016.

“Necessary . . . Young’s book releases a universal shout—political in the best, most visceral way, critical, angry, squinting hard at this culture—while remaining at the same time deeply and lovingly personal. Love soars over every section, especially the most painful ones.” —Luis Alberto Urrea, The New York Times Book Review“Ambitious . . . . [Young] effortlessly blends memories of his own experiences — his childhood in Kansas, his college years and his travels — with reflections on sports figures, musicians and others who have impacted American life . . . . Young’s writing is crisp and well paced, his rhythms and harmonies complex. His virtuosity is on display as he illustrates the intersections between place and the past, the individual and the collective consciousness.” —Elizabeth Lund, Washington Post“Vital and sophisticated . . . sinks hooks into you that cannot be easily removed . . . Keeping up with him is like trying to keep up with Bob Dylan or Prince in their primes.” —Dwight Garner, The New York Times“Not only beautiful but essential . . . A survey of American history through the ‘intimate eye’ that only poetry can provide, Brown pinpoints pop-cultural touchstones and their impact on how we live. His poems, on their own, pierce in their wisdom; together, they connect to form a vibrant tapestry of black life.” —David Canfield, Entertainment Weekly“Feels effortless . . . Each poem is tight to its subject, spare and musical in its language, and specific but resonates with significance in social, political, or historical realms.” —American Microreviews & Interviews, Edward A. Dougherty “Kevin Young’s poetry dazzles me.” —Lorraine Berry, Signature“This new collection continues and deepens the poet’s lyrical exploration of the African American cultural influences who shaped his—and the nation’s—identity. Through short, spare lines that dance, chime, laugh, lament, and assert, Young creates a consciousness-in-motion, a weaving of personal and national histories that not only reanimates the past but moves forcefully into the present.” —Fred Muratori, Library Journal“Thrillingly quick-footed, Young’s poems are also formally intricate and fully loaded with history, protest, and emotion.” —Donna Seaman, Booklist (starred review)“Young is writing through moments of the exemplary and mundane—‘we breathe,/ we grieve, we drink / our tidy drinks’—for himself and his community alike . . . Personal, historic, and contemporary confrontations with white supremacy, such as ‘Triptych for Trayvon Martin,’ feature prominently.” —Publishers Weekly

Excerpt From Book

Brown             for my mother     The scrolled brown arms             of the church pews curve like a bone—their backs   bend us upright, standing             as the choir enters       singing, We’ve come this far   by faith—the steps             & sway of maroon robes,       hands clap like a heart   in its chest—leaning             on the Lord—       this morning’s program   still warm             from the mimeo machine       quick becomes a fan.   In the vestibule latecomers             wait just outside       the music—the river   we crossed             to get here— wide boulevards now   *     in disrepair. We’re watched over       in the antechamber   by Rev.       Oliver Brown, his small, colored picture   nailed slanted to the wall—formerpastor of St. Mark’s   who marched into that principal’s office       in Topeka to ask   why can’t my daughter school here, just steps from our house—   but well knew the answer— & Little Linda became an idea, became more   what we needed & not             a girl no more—Free-dom       Free-dom—   *     Now meant             sit-ins & I shall I shall I shall not be   moved— & four little girls bombed into tomorrow   in a church basement like ours where nursing mothers & children not ready to sit still   learned to walk—Sunday school sent into pieces & our arms.             We are swaying more now, entering   heaven’s rolls—the second row             behind the widows in their feathery hats   & empty nests, heads heavy       but not hearts Amen. The all-white   *     stretchy, scratchy dresses             of the missionaries— the hatless holy who pin lace   to their hair—bowing             down into pocketbooks opened for the Lord, then   snapped shut like a child’s mouth mouthing off, which just   one glare from an elder             could close. God’s eyes must be   like these—aimed             at the back row where boys pass jokes   & glances, where Great Aunts keep watch, their hair shiny   as our shoes             &, as of yesterday, just as new—      *    chemical curls & lop-             sided wigs—humming       during offering   Oh my Lord             Oh my Lordy       What can I do.   The pews curve like ribs             broken, barely healed,       & we can feel   ourselves breathe— while Mrs. Linda Brown Thompson, married now, hymns   piano behind her solo— No finer noise       than this—   We sing along, or behind,       mouth most   every word—following her grown, glory voice,       the black notes     *     rising like we do—             like Deacon       Coleman who my mother   always called Mister—             who’d help her       weekends & last   I saw him my mother             offered him a slice of sweet potato   pie as payment—             or was it apple—       he’d take no money   barely said             Yes, only       I could stay   for a piece—             trim as his grey       moustache, he ate   with what I can only             call dignity—       fork gently placed     *     across his emptied plate.             Afterward, full,       Mr. Coleman’s That’s nice   meant wonder, meant the world entire.       Within a year cancer   had eaten him away— the only hint of it this bitter taste for a whole   year in his mouth. The resurrection             and the light.      For now he’s still             standing down front, waiting at the altar for anyone to accept the Lord, rise   & he’ll meet you halfway & help you down       the aisle—   legs grown weak— As it was in the beginning Is now   *   And ever shall be— All this tuning       & tithing. We offer   our voices up toward the windows whose glass I knew   as colored, not stained— our backs made upright not by   the pews alone— the brown         wood smooth, scrolled   arms grown             warm with wear— & prayer—   Tell your neighbor             next to you you love them—till   we exit into the brightness beyond the doors.

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