Awards

• Winner of Hurston/Wright Legacy Award 2024

Overview

Full Product Details

9781324105169

Table of Contents

Reviews

"[A. Van Jordan] finds evocative new ways to connect us to a shared storytelling heritage.-- ""Entertainment Weekly"" For several books now, A. Van Jordan has been proving himself master of the dramatic monologue.... With an imagination illuminated by empathy, Jordan inhabits the eye of the camera, the eye of the actor, and the 'I' of a viewer tethered to image and history.--Terrance Hayes, MacArthur Fellow and author of So To Speak From a collaboration with filmmaker Cauleen Smith in response to Malick Sidib�'s photographs, to a fictional oral history project involving a 'code switching' Shakespeare scholar who shapes 'critical fabulation' from the 'master thief, ' the interdisciplinary projects of A. Van Jordan's moving fifth collection offer rigor and substance.--Rebecca Morgan Frank ""Literary Hub"" In this book, A. Van Jordan brings us what might be his most ambitious collection to date. Part-poetry, part-drama, part-interview, this is a book that defies easy categorization and yet uses that genrelessness to get to the heart of the American tradition of state violence against Black people. The book draws on a wide set of influences including Langston Hughes, Aim� C�saire, and William Shakespeare to build one of the most thoughtful poetic investigations of race and racism I have ever read. Jordan is one of the most masterful poets working today. This book is beautiful, affecting, and important.--Nate Marshall, author of Finna A. Van Jordan once again plumbs deep into canonical archives, the scouring searchlight of his poems illuminating cracks, creaks, and crooked seams in our literary and legal legacies. Herein is a hex composed of oft-hidden truths summoned up from playground soil and dictionary definitions, from Shakespearean soliloquies and Shango's tailor-cut suits. Herein seethes the poet's syncopation with Malick Sidib� and Cauleen Smith that ripples 'with full knowledge / of the gift skin gives to skirt.' This is a unique and vibrant risk of a book, one that speaks beyond borders of time and space to feverishly haunt us when we wake.--Tyehimba Jess, Pulitzer Prize-winning author of Olio To do justice to Black people murdered by police--their human-sized losses, the tragic grandeur they assumed on global stages--[A. Van] Jordan reinhabits [Shakespeare's Black] characters.... Like W. H. Auden's The Sea and the Mirror and Aim� C�saire's A Tempest, [When I Waked, I Cried to Dream Again] does not imitate Shakespeare's style so much as conduct formal and social experiments with his works. Three ingenious character studies take the form of tables...presenting four perspectives at once. Amid all the tragedy, the book's comic core, 'Such Sweet Thunder, ' takes inspiration from the Malian photographer Malick Sidib� and a Sixties youth culture choreographed to James Brown and vibrantly dressed for the future.--Christopher Spaide ""Poetry Foundation"""

"A. Van Jordan once again plumbs deep into canonical archives, the scouring searchlight of his poems illuminating cracks, creaks, and crooked seams in our literary and legal legacies. Herein is a hex composed of oft-hidden truths summoned up from playground soil and dictionary definitions, from Shakespearean soliloquies and Shango's tailor-cut suits. Herein seethes the poet's syncopation with Malick Sidib� and Cauleen Smith that ripples 'with full knowledge / of the gift skin gives to skirt.' This is a unique and vibrant risk of a book, one that speaks beyond borders of time and space to feverishly haunt us when we wake.--Tyehimba Jess, Pulitzer Prize-winning author of Olio From a collaboration with filmmaker Cauleen Smith in response to Malick Sidib�'s photographs, to a fictional oral history project involving a 'code switching' Shakespeare scholar who shapes 'critical fabulation' from the 'master thief, ' the interdisciplinary projects of A. Van Jordan's moving fifth collection offer rigor and substance.--Rebecca Morgan Frank ""LitHub"" In this book, A. Van Jordan brings us what might be his most ambitious collection to date. Part- poetry, part-drama, part-interview, this is a book that defies easy categorization and yet uses that genrelessness to get to the heart of the American tradition of state violence against Black people. The book draws on a wide set of influences including Langston Hughes, Aim� C�saire, and William Shakespeare to build one of the most thoughtful poetic investigations of race and racism I have ever read. Jordan is one of the most masterful poets working today. This book is beautiful, affecting, and important.--Nate Marshall, author of Finna To do justice to Black people murdered by police--their human-sized losses, the tragic grandeur they assumed on global stages--Jordan reinhabits [Shakespeare's Black] characters... Like W. H. Auden's The Sea and the Mirror and Aim� C�saire's A Tempest, Jordan's book does not imitate Shakespeare's style so much as conduct formal and social experiments with his works. Three ingenious character studies take the form of tables... Amid all the tragedy, the book's comic core, 'Such Sweet Thunder, ' takes inspiration from the Malian photographer Malick Sidib� and a Sixties youth culture choreographed to James Brown and vibrantly dressed for the future.--Christopher Spaide ""Poetry Foundation"""

Author Information

A. Van Jordan is the author of five collections of poetry. He has been a finalist for the Rilke Prize and is the recipient of a Guggenheim Fellowship, a Hurston/Wright Legacy Award, a PEN Oakland/Josephine Miles Award, and a Lannan Literary Award. He is the humanities and sciences chair of English literature at Stanford University and lives in Oakland, California.

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