Early in October— the first creases of autumn, a flag-weary sky in which yellow birds, in flight, slip through the breast-bone of God and tear at the coarse threads that keep the morning knit tightly around his heart. Normally, the U.S. South is considered bucolic, the place of the pastoral, but within three to five miles of my home, dairy cow farms speckled the landscape. I want to lose my last name in the crickets Coupling beneath my feet. These cookies help us provide you with personalized content and improve our website. All rights reserved. By clicking on "I agree", you agree to this use.
RR: What I might like to say about poetry is: Let us write more poetry. RF: You write unflinchingly of politics, something many poets do not aver let alone address. You might not believe in politics, Dear Writer, but the political believes in you. Please enable Javascript functionality in your browser so you do not see this message again. It's a book of inhabitations and transformations; the disembodied multitudes that constitute a single body. If one is obsessed with finger puppets, one will write about finger puppets. Part of HuffPost Entertainment. I found it incredibly liberating -- that we are assemblages, artificial and real as any poem, story, building or boat. More Roger Reeves > sign up for poem-a-day Receive a new poem in your inbox daily. Much of my childhood was spent outdoors -- camping, hiking, playing basketball, picking crab apples off of trees and throwing them at parked cars and friends. Of course, it unstitched me in the very best of ways. RF: What do you want to say about your poetry, your journey, that might be helpful, encouraging, or otherwise explanatory to other writers and/or readers? Then, a few years later, I was watching outtakes to Oprah Winfrey's interview of Cormac McCarthy who I was binging on one summer.
02/24/2014 03:22 pm ET Updated Apr 26, 2014 When the behemoth of all writers conferences, the Association of Writers and Writing Programs (AWP), begins this week, Roger Reeves will be everywhere, discussing hip-hop poetry on Friday and debut-collections on Saturday. Reeves may owe some of his popularity to the fact that he balances talent with engagement in the world of poetry and politics, a hard combination to resist in a literary universe that sometimes seems too removed from the people who give it shape and reason. I can enjoy Emmanuel Carrère's very French fiction and nonfiction as well as Aimé Césaire's very Martiniquan poetry and prose without them having to rise up beyond their respective cultural positions to the place of the "human." He will also be at a multitude of off-site events including the Bat City Review's 10th Anniversary Reading, the PYSCCity and Youth Care reading on behalf of city youth, which will include poets Matthew Dickman, Matt Hart, Tanya Olson, and Phillip B. Williams and, of course, the Cave Canem and Copper Canyon (which publishes Reeves), All-Star Reading, whose line up includes many rising young poets, among them Fady Joudah, Jericho Brown and Natalie Diaz. Your poems draw heavily on the natural world, from animals (cows, dogs, pigs, cats, horses, elephants) to birds (falcons, crows, herons. Someday I'll Love Roger Reeves (audio only) Roger Reeves 2013.
So this really happened. In both ears these poems are resoundingly humanizing and vital and true. What in your experience compels you so repeatedly to place your vision within this inspiration? When the behemoth of all writers conferences, the Association of Writers and Writing Programs (AWP), begins this week, Roger Reeves will be everywhere, discussing hip-hop poetry on Friday and debut-collections on Saturday. Before sitting down for this interview today, I wrote down on a piece of scratch paper: "A man can never be larger than his obsessions." Association of Writers and Writing Programs (AWP). And begin again. When I ran, it rained niggers. What I hope is that these awards recognize the way my work might seek to contribute to the better-making of poetry and art in America. The poem is called " Cross Country," and, if I'm remembering correctly, he wrote it after some asshole hurled the n-word at him while he was on a … King Me. Van Gogh is here, Mike Tyson, Ernest "Tiny" Davis, and in the first and last poems, someone named Roger Reeves appears.
Those words are a convocational plea, one that begs the reader to return to the beginning. Many critics have argued this point so I will only say this: often, when we use the term universal, we secretly and not-so secretly mean white and white cultural epistemes. Forgive me for this; I believe in a set-up, but I do believe I will answer the question. Brief Angel (audio only) Roger Reeves 2013. It sounds in another ear like the request of a formerly powerless pawn having made it, after fields of struggle, to the king's doorstep. RF: In her introduction to Black Nature: Four Centuries of African American Nature Poetry, (University of Georgia Press, 2009), editor Camille Dungy writes that many Black writers do not engage the natural world as often as Anglo-American writers do, that "the pastoral as diversion, a construction of a culture that dreams through landscape and animal life...is less prevalent," among the former. Moving to the U.S. South made more aware of my upbringing and how the natural world was my first teacher.
[“Cross Country,” Roger Reeves, King Me, Copper Canyon Press, 2013.]
What was it that they sang about the light, their tongues, Might I start with a bit of a preamble? In “Cross Country,” which I first quoted at the beginning of this review, we are witness to a speaker teasing out both creation and undoing of the black body, an American corporeality: Here, below this golden altar, the making and unmaking of my body. Influence is another way of saying talking to the dead, talking to what has come before. In 2007, I became obsessed with Natasha Trethewey's "Pastoral" (in Native Guard), a poem that engages and interrogates the constructedness of identity, race, the South, the lyric and canonicity. We collect limited information about web visitors and use cookies on our website to provide you with the most optimal experience.
In the novel, Diaz's narrator, Yunior, argues that the dictator and writer are natural enemies of each other because they are so alike. I became interested in the dreaming (writing poems) through animal life because of the way they are both knowable and unknowable, familiar and unfamiliar. Email Address. To learn more about our web site privacy practices, please review VCU's privacy statement.
However, in reading and re-reading the poem, in starting to think about how I might extend Trethewey's conversation of race, canon and literary form, I realized how intrinsically linked African-American history and life (slavery, lynching, share-cropping) were linked to the pastoral -- to its philosophical, poetic and epistemological concerns. Hundreds of acres of corn spread all over the surrounding towns from Burlington to Willingboro; forty miles away stood a cranberry bog that I often visited as a Boy Scout, and the Rancocas Indian Reservation stood hidden behind a stand of pines about five miles from my house. sparrows, chickens, geese) to insects (cockroaches, wasps, butterflies, moths, fleas, maggots, and repeatedly, bees) to flowers and farming. That's why I resist the term. (So sorry about the gendered language, but I was kind of talking to myself, but this declarative statement might also apply for and to a woman.) RR: No, I don't believe my work is particularly universal. "What Stalin Grew Tired Of,") and a multitude of sins in America ("Cross Country," "Cymothoa exigua," "1987," "Some Young Kings,") among others. Let us be open to poetry changing our life. RF: In "Southern Charm" you evoke the Persian epic poem, "The Conference of Birds," with your allusion to "A Parliament of Fowls." There, I encountered Judith Butler's seminal work, Gender Trouble, for the first time. During my first graduate student days at Texas A&M University, I took a gender theory class.
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