What I Say is an anthology of formally experimental and innovative poetry by black writers in America from 1977 to the present that allows readers to map the independent routes by which various poets reached their particular modes of aesthetic experimentation.
What I Say: Innovative Poetry by Black Writers in America is the second book in a landmark two-volume anthology that explodes narrow definitions of African American poetry by examining experimental poems often excluded from previous scholarship. The first volume, Every Goodbye Ain't Gone, covers the period from the end of World War II to the mid-1970s. In What I Say, editors Aldon Lynn Nielsen and Lauri Ramey have assembled a comprehensive and dynamic collection that brings this pivotal work up to the present day.
The elder poets in this collection, such as Nathaniel Mackey, C. S. Giscombe, Will Alexander, and Ron Allen, came of age during and were powerfully influenced by the Black Arts Movement, and What I Say grounds the collection in its black modernist roots. In tracing the fascinating and unexpected paths of experimentation these poets explored, however, Nielsen and Ramey reveal the tight delineations of African American poetry that omitted non-canonical forms. This invigorating panoply of work, when restored, brings into focus the creatively elastic frontiers and multifaceted expressions of contemporary black poetry.
Several of the poets discussed in What I Say forged relationships with members of the L=A=N=G=U=A=G=E poetry movement and participated in the broader community of innovative poetry that emerged in the late 1970s and early 1980s and continues to exert a powerful influence today.
Each volume can stand on its own, and reading them in tandem will provide a clear vision of how innovative African American poetries have evolved across the twentieth century and into the twenty-first. What I Say is infinitely teachable, compelling, and rewarding. It will appeal to a broad readership of poets, poetics teachers, poetics scholars, students of African American literature in non-narrative forms, Afro-futurism, and what lies between the modern and the contemporary in global and localized writing practices.
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WILL ALEXANDER
Apprenticeship
... between impulse and resistances,
between advances and retreats.
–Octavio Paz, Eagle or Sun?
Here I am
posing in a mirror of scratch paper sonnets
sonnets as rare
as a live Aegean rhino
absorbing the cracklings of my craft
its riverine volcanoes
its spectacular lightning peninsulas
emitting plentiful creosote phantoms
from an ironic blizzard of unsettled pleromas
scouring through years of unrecognized pablums
of constant arch-rivalry with extinction
bringing up skulls of intensive discourse
by the claws in one's mind
which seem to burn with systemic reduction
one then suffers poetic scorching by debris
by inaugural timber which flashes
by friction which flares up & harries
by unrecognized moltens collapsing in glass
of initial intuitive neglect
as if one's fangs
were fatally stifled by incipience
by verbal range war didactics
by territorial driftwood
by sudden undemonstrative detractions
awed
by the diverse infernos of Trakl & Dante
one's youngish body stands
devoured by reverential print trails
momentarily cancelled
by the loss of blasphemous nerves & upheaval
stung
by demeaning neutralities
ravaged
by a blank Sumatran solar psychosis
by a tasteless collision of rums in transition
by a conspiracy of obscured fertility by hubris
as one sucks in doubt from a wave of tumbling blister trees
there exist irradiations flecked with a gambled synecdoche
with indeterminate earthenware splinters
taking up
from aboriginal density
a forge of Sumerian verbal signs
cooked with a tendency
towards starfish hypnosis
towards psychic confrontational drainage
conducting one's frictions in a torrential furnace of osmosis & ire
yes
apprenticeship
means poetry scrawled in unremitting leper's mosaic
cringed in smoky interior cubicles
releasing various deliriums
as if pointed under a blackened Oedipal star
with its dark incapable tints
with its musical ruse of unspoken belladonna
poetics
an imaginal flash of Russian chamber lilies
stretching under a blue marsupial sun
like kaleidoscopic tumbleweed
fugaciously transfixed
upon an anomalous totem of glints
upon rainy Buenos Aires transfusions
above the urinal coppers of a flaming polar star rise
of course
kinetic
like magical malachite rivers
flowing from moons
blowing through the 3/4 summits of motionless anginas
I've looked
for only the tonalities that scorch
which bring to my lips wave after wave
of sensitivity by virulence
yes
a merciless bitterness
brewed by a blue-back tornado of verbs
in a surge of a flashing scorpion chatter
in a dessicated storm of inferential parallels & voltage
like a scattered igneous wind
co-terminus with the bleeding hiatus & the resumption of breath
resolved by flash point edicts
by consumptive stellar limes
by curvature in tense proto-Bretonian fatigue
mixing magnets
juggling centripetal anti-podes & infinities
cracking the smoke of pure rupestral magentas
yes
hatcheries
floating through acetylene corruption of practiced mental restraint
to splendiferous vistas mingled with inspirational roulette
its mysteriums
always leaping like a grainy rash of scorching tarantellas
or leaking moon spun alloestophas
as if speaking
in irregular glossological green Dutch
a frenetic seminar on febricity
a reiteration of hendacasyllabic agitation & stinging
a ferocious vacillation
explosive as random "aggregational" nodes
mimed by a black consonantal dissection
its maximal priority
forked at "hypotactic inclusion"
with isochronous internal procedure
with ratios
with phonic penetralia by distortion
primed by anomalous "nuclear accent"
by a cadence of composing syllables & compounds
yes
poetics
its force
jettisoned by "hypotaxis"
by ... paratactic co-ordination
& fire
The Neutralized Sore of the Unshackled Bear
He had limping blue forelegs. He was a balding Don Juan. Around his hut were shackled secretary birds carving footnotes on the light of his eardrums. He was trapped inside his forehead going over the fire of his backsliding memory. There were harpies with green earlobes hopping over horses. There were meadowlarks in chains eating blood from a dagger. He began to reel....
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