Don't Call Us Dead
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_WINNER OF THE FORWARD PRIZE FOR BEST COLLECTION 2018__A Finalist for the National Book Award for Poetry 2017__A Financial Times and Telegraph Book of the Year 2018_'[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy' The New YorkerAward-winning poet Danez Smith is a ground-breaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the saf...
_WINNER OF THE FORWARD PRIZE FOR BEST COLLECTION 2018_
_A Finalist for the National Book Award for Poetry 2017_
_A Financial Times and Telegraph Book of the Year 2018_
'[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy' The New Yorker
Award-winning poet Danez Smith is a ground-breaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love and longevity they deserved here on earth. Smith turns then to desire, mortality - the dangers experienced in skin and body and blood - and an HIV-positive diagnosis.
'Some of us are killed / in pieces,' Smith writes, 'some of us all at once.' Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes an America where every day is too often a funeral and not often enough a miracle.
_A Finalist for the National Book Award for Poetry 2017_
_A Financial Times and Telegraph Book of the Year 2018_
'[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy' The New Yorker
Award-winning poet Danez Smith is a ground-breaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love and longevity they deserved here on earth. Smith turns then to desire, mortality - the dangers experienced in skin and body and blood - and an HIV-positive diagnosis.
'Some of us are killed / in pieces,' Smith writes, 'some of us all at once.' Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes an America where every day is too often a funeral and not often enough a miracle.
