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eBay-Artikelnr.:135055091978
Artikelmerkmale
- Artikelzustand
- ISBN
- 9781937658618
- Book Title
- Rock Salt Stone
- Publisher
- Nightboat Books
- Item Length
- 8.5 in
- Publication Year
- 2017
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.4 in
- Genre
- Poetry
- Topic
- General
- Item Weight
- 8.8 Oz
- Item Width
- 6.4 in
- Number of Pages
- 120 Pages
Über dieses Produkt
Product Identifiers
Publisher
Nightboat Books
ISBN-10
1937658619
ISBN-13
9781937658618
eBay Product ID (ePID)
237571936
Product Key Features
Book Title
Rock Salt Stone
Number of Pages
120 Pages
Language
English
Topic
General
Publication Year
2017
Illustrator
Yes
Genre
Poetry
Format
Trade Paperback
Dimensions
Item Height
0.4 in
Item Weight
8.8 Oz
Item Length
8.5 in
Item Width
6.4 in
Additional Product Features
Intended Audience
Trade
Dewey Edition
23
Reviews
"Because bodies are not rocks but get weighed down by them when tossed into the ocean to drown. Because bodies are not consumed by mouths but are covered in salty sweat and can be beaten like meat. Because bodies have mouths but can not always speak without being stoned and sometimes the mouths make the wrong shapes and so the bodies become demons then ghosts then demons then ghosts again. Because the bodies wash up on the shore and wash up still. Because all things that are life become death like water or salt or stone or rock or other bodies and when not all the bodies fit together huddled on the rock, and so as some bodies cling to the hard surface with their bruised fingers and open mouths, other bodies shove those bodies off, without blinking, because blinking would be memory, and here, in the unraveling hardness and conjuration of demons, memory is not always honest and words are not always true."--Janice Lee, Because bodies are not rocks but get weighed down by them when tossed into the ocean to drown. Because bodies are not consumed by mouths but are covered in salty sweat and can be beaten like meat. Because bodies have mouths but can not always speak without being stoned and sometimes the mouths make the wrong shapes and so the bodies become demons then ghosts then demons then ghosts again. Because the bodies wash up on the shore and wash up still. Because all things that are life become death like water or salt or stone or rock or other bodies and when not all the bodies fit together huddled on the rock, and so as some bodies cling to the hard surface with their bruised fingers and open mouths, other bodies shove those bodies off, without blinking, because blinking would be memory, and here, in the unraveling hardness and conjuration of demons, memory is not always honest and words are not always true., "King (Island Bodies), an accomplished scholar and performer, opens her formally daring verse debut with a version of "My Bonnie Lies over the Ocean," recasting it to address Afro-Caribbean diasporas, and starring Yoruba deities Eshu, Oshun, and Ogun. "My brawn it belongs to the Ogun/ my blood it flows into the sea/ the two meet inside a black body/ and whisper you fight to be free," runs one of several verses before the newly meaningful call to "Bring/ Back." It is representative of several defining elements of the book, among them a deep engagement with history and mythology, a sense of play, and formal techniques that require the reader to hear-not just read-the poem...King uses English while writing beyond and against the bounds of its conventions, and also to foreground the speaking, hearing body-and importantly, the black, queer, female body-as the site where language originates and lands.", "King (Island Bodies), an accomplished scholar and performer, opens her formally daring verse debut with a version of "My Bonnie Lies over the Ocean," recasting it to address Afro-Caribbean diasporas, and starring Yoruba deities Eshu, Oshun, and Ogun. "My brawn it belongs to the Ogun/ my blood it flows into the sea/ the two meet inside a black body/ and whisper you fight to be free," runs one of several verses before the newly meaningful call to "Bring/ Back." It is representative of several defining elements of the book, among them a deep engagement with history and mythology, a sense of play, and formal techniques that require the reader to hear--not just read--the poem...King uses English while writing beyond and against the bounds of its conventions, and also to foreground the speaking, hearing body--and importantly, the black, queer, female body--as the site where language originates and lands."--Publishers Weekly, 'Her blending of different performance styles, interactions with the audience and the staging of the performance enables people to empathize with the stories she depicts, even if they may not be familiar with all of the contexts in which these stories occur' noted Shakes. This original performance style was one reason why Shakes wanted to bring King to campus. 'King's Verse Cabaret technique represents a very interesting and fresh take on this method of performing, and I wanted the College of Wooster community to experience it as an alternative to other, more well-known forms of performance in the United States,' she said., If you only read one book of poems this year, treat yourself to this collection. Dr. King's imagery and language draws on different cultures, African, Carribean, Queer, and American, and folklore. Her poems are lyrical and rich, and her playfulness with language is apparent even as she addresses subjects that are heartbreaking, the positive energy of these poems shines through...Even if you are someone who does not read poetry, particularly if you are someone who does not read poetry, get outside of your comfort zone and read these poems.
Dewey Decimal
811.6
Table Of Content
ONE Bring Back TWO [I was eating cereal and water] [the room gets/heavy] Lajablesse in Oakland Stranger in the Dark [Roll the curlers under.] [I cut off my feet] [need grows] [scrub dark and soiled areas.] for Isatou for Haddy for Adama for Elle [In the day/you strut] Tambourine bottle another day REPARATIONS THREE [I cannot hula hoop anymore] [The family sound dry] In search of a word [There is no more reason] [each clump of grass or stone holds heat] first fever [The punctuation in between] Testing the Glass [you woke up yesterday and did not expect to die] FOUR "She" Spit in a well [sex can, on occasion] [The slices of keratin that are her nails.] [I fell in love with the market woman] the pavement/road/stone glistens Black girls taste like you. nasty. [I love myself/when] Darling youuuuuuuuuuuuuuuuuuuu zami Experiments in Spellchick we are all language poets FIVE the poem wet the poem s t r e t c h e d out the poem with overgrowth the poem mud the poem lyric reaching the poem blinged out silent SIX [There are some caterpillars] Sea Garden [There is no heat in the hot.] [I appreciate your work] [Because evil] (Name withheld) [Go home, water poet] [memory is not true] SEVEN Old Head. ABOUT THE BOOK Notes and Additional Reading Acknowledgments
Synopsis
RockSaltStone sprays life-preserving salt through the hard realities of rocks, stones, and rockstones used as anchors, game pieces, or weapons. The manuscript travels through Africa, the Caribbean, and the USA, including cultures and varieties of English from all of those places. The poems center the experience of the outsider, whether she is an immigrant, a woman, or queer. Sometimes direct, sometimes abstract, these poems engage different structures, forms, and experiences while addressing the sharp realities of family, sexuality, and immigration., Rock Salt Stone sprays life-preserving salt through the hard realities of rocks, stones, and rockstones used as anchors, game pieces, or weapons. The manuscript travels through Africa, the Caribbean, and the USA, including cultures and varieties of English from all of those places. The poems center the experience of the outsider, whether she is an immigrant, a woman, or queer. Sometimes direct, sometimes abstract, these poems engage different structures, forms, and experiences while addressing the sharp realities of family, sexuality, and immigration., Rock-Salt-Stone sprays life-preserving salt through the hard realities of rocks, stones, and rockstones used as anchors, game pieces, or weapons. The manuscript travels through Africa, the Caribbean, and the USA, including cultures and varieties of English from all of those places. The poems center the experience of the outsider, whether she is an immigrant, a woman, or queer. Sometimes direct, sometimes abstract, these poems engage different structures, forms, and experiences while addressing the sharp realities of family, sexuality, and immigration.
LC Classification Number
PS3611
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