Red Wilderness: Stahlecker Selections
Autor Aaron Colemanen Limba Engleză Paperback – 15 mar 2025
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Specificații
ISBN-13: 9781961897243
ISBN-10: 1961897245
Pagini: 135
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.2 kg
Editura: FOUR WAY BOOKS
Colecția Four Way Books
Seria Stahlecker Selections
ISBN-10: 1961897245
Pagini: 135
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.2 kg
Editura: FOUR WAY BOOKS
Colecția Four Way Books
Seria Stahlecker Selections
Recenzii
The very first line of “In the City of Tenderness and Desperate Promises,” the official opening poem in Aaron Coleman’s evocative and blistering Red Wilderness is this: “Punctured in the soft hour, we tried a new way home . . .” That unproven path winds “all up in through here,” past mudglut banks, trees ripped with ghosts, Red Lick and St. Louis, rain-pelted ruins and through America’s slick and murderous landscape—and straight toward the tumult and testimony of Black days, both here and behind us. On the way to “home and never home,” these keen and luminous poems chronicle what is ultimately a way for Black folks to thrive in the midst of storm.
—Patricia Smith
The ancestral song of Aaron Coleman rings true in Red Wilderness, clearing a way for us to see up ahead. There’s the legacy of family and of the community we build outward, and then there’s the wilderness, that country, around us all, which Coleman maps out, showing us “what is true but nameless,” and that which “knows no beginning or end.” Whether he offers a reverie from a crooner, “somewhere smiling, / as new friends glide together,” or we fall into, “a black boy’s body . . . a language sculpted out of silence,” what’s clear is that Coleman is a cartographer of our sensibilities, our fears, and our hopes for a space we can call our own.
—A. Van Jordan
With linguistic precision and a tenderness that not only brings places, times, and people to life, but also demands that you, the reader, cares for them, Aaron Coleman offers us a massive achievement with Red Wilderness. Inventive, direct, and stunning in approach, its greatest achievement, to my eye, is the transportative nature of it. “A black boy’s body is a language sculpted out of silence,” Coleman writes, and you might, perhaps, know the boy, or know the body, or know the silence, or know all three. For this, more than anything, Red Wilderness is an incredibly generous offering. One that will echo through my world for years to come.
—Hanif Abdurraqib
Red Wilderness is a map of stories and songs inseparable from their folks: soldiers, lovers, kin, citizens, ancestors—some pinned to history, some near-erased, others floating through holy or brutal scenes and memorials. Coleman voices these voices; he counts the countless instances of State violence against Blackness and Black futures. Whether from memory, history, or imagination, the voices in Red Wilderness speak here in iterations of love, resistance, wonder, connection, truth, and joy. Coleman’s brilliant signature is his ability to voice many people, while keeping each individual’s sound: a maestro directing an intergenerational community choir of soloists—an historical ensemble pulled from the dead and the living—in an epochal opera.
—Brenda Shaughnessy
—Patricia Smith
The ancestral song of Aaron Coleman rings true in Red Wilderness, clearing a way for us to see up ahead. There’s the legacy of family and of the community we build outward, and then there’s the wilderness, that country, around us all, which Coleman maps out, showing us “what is true but nameless,” and that which “knows no beginning or end.” Whether he offers a reverie from a crooner, “somewhere smiling, / as new friends glide together,” or we fall into, “a black boy’s body . . . a language sculpted out of silence,” what’s clear is that Coleman is a cartographer of our sensibilities, our fears, and our hopes for a space we can call our own.
—A. Van Jordan
With linguistic precision and a tenderness that not only brings places, times, and people to life, but also demands that you, the reader, cares for them, Aaron Coleman offers us a massive achievement with Red Wilderness. Inventive, direct, and stunning in approach, its greatest achievement, to my eye, is the transportative nature of it. “A black boy’s body is a language sculpted out of silence,” Coleman writes, and you might, perhaps, know the boy, or know the body, or know the silence, or know all three. For this, more than anything, Red Wilderness is an incredibly generous offering. One that will echo through my world for years to come.
—Hanif Abdurraqib
Red Wilderness is a map of stories and songs inseparable from their folks: soldiers, lovers, kin, citizens, ancestors—some pinned to history, some near-erased, others floating through holy or brutal scenes and memorials. Coleman voices these voices; he counts the countless instances of State violence against Blackness and Black futures. Whether from memory, history, or imagination, the voices in Red Wilderness speak here in iterations of love, resistance, wonder, connection, truth, and joy. Coleman’s brilliant signature is his ability to voice many people, while keeping each individual’s sound: a maestro directing an intergenerational community choir of soloists—an historical ensemble pulled from the dead and the living—in an epochal opera.
—Brenda Shaughnessy
Notă biografică
Aaron Coleman is a poet, translator, educator, and scholar of the African Diaspora. He is the recipient of fellowships from the National Endowment of the Arts, Cave Canem, the Fulbright Program, and the American Literary Translators Association. His debut poetry collection, Threat Come Close, was the winner of the Great Lakes Colleges Association New Writers Award, and his chapbook, St. Trigger, won the Button Poetry Prize. He is also the translator of Afro-Cuban poet Nicolás Guillén’s 1967 collection, The Great Zoo, selected for the Phoenix Poet Series by University of Chicago Press. His poems, essays, and translations have appeared in publications including The New York Times, Boston Review, Callaloo, and Poetry Magazine. From Metro-Detroit, Coleman has lived and worked with youth in locations including Spain, South Africa, Chicago, St. Louis, and Kalamazoo. He is an assistant professor of English and Comparative Literature in the Helen Zell Writers’ Program at the University of Michigan.
Extras
from "I Found Kin in a Thrift Store Photograph"
Outside of time, inside the picture
this anonymous child has come
to be my family. Somehow
his legs sway with the framed waves
at the same pace loneliness slips
beneath the surface of intuition, floods
the warm current called desire.
On the far side I will never see
his spine is my creation myth, a bone river
of redemption, a choice to live, despite
unkeepable love. This religion of slow loss
balanced on the balls of his feet.
Outside of time, inside the picture
this anonymous child has come
to be my family. Somehow
his legs sway with the framed waves
at the same pace loneliness slips
beneath the surface of intuition, floods
the warm current called desire.
On the far side I will never see
his spine is my creation myth, a bone river
of redemption, a choice to live, despite
unkeepable love. This religion of slow loss
balanced on the balls of his feet.