This is a list of some of the books of poetry by individual poets that the STLCC libraries have.
Hard Times Require Furious Dancing by
"Though we have encountered our share of grief and troubles on this earth, we can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one." -- from the preface I was born to grow, alongside my garden of plants, poems like this one So writes Alice Walker in this new book of poems, poems composed over the course of one year in response to joy and sorrow both personal and global: the death of loved ones, war, the deliciousness of love, environmental devastation, the sorrow of rejection, greed, poverty, and the sweetness of home. The poems embrace our connections while celebrating the joy of individuality, the power we each share to express our truest, deepest selves. Beloved for her ability to speak her own truth in ways that speak for and about countless others, she demonstrates that we are stronger than our circumstances. As she confronts personal and collective challenges, her words dance, sing, and heal.
And Bid Him Sing by
While competing with Langston Hughes for the title of "Poet Laureate of Harlem," Countée Cullen (1903-46) crafted poems that became touchstones for American readers, both black and white. Inspired by classic themes and working within traditional forms, Cullen shaped his poetry to address universal questions like love, death, longing, and loss while also dealing with the issues of race and idealism that permeated the national conversation. Drawing on the poet's unpublished correspondence with contemporaries and friends like Hughes, Claude McKay, Carl Van Vechten, Dorothy West, Charles S. Johnson and Alain Locke, and presenting a unique interpretation of his poetic gifts, And Bid Him Sing is the first full-length critical biography of this famous American writer. Despite his untimely death at the age of forty-two, Cullen left behind an extensive body of work. In addition to five books of poetry, he authored two much-loved children's books and translated Euripides' Medea, the first translation by an African American of a Greek tragedy. In these pages, Charles Molesworth explores the many ways that race, religion, and Cullen's sexuality informed the work of one of the unquestioned stars of the Harlem Renaissance. An authoritative work of biography that brings to life one of the chief voices of his generation, And Bid Him Sing returns to us one of America's finest lyric poets in all of his complexity and musicality.
We're on: a June Jordan Reader by
"June Jordan was not the blacksmith's daughter. June Jordan was the blacksmith. . . . She never waited around, not for anyone's permission, to write or act or be. . . . For this book to have its birth now, in the lopsided moment when we need it most, is no chance occurrence. This great woman blacksmith is still sweetly hammering us on." --Nikky Finney Poet, activist, and essayist June Jordan is a prolific, significant American writer who pushed the limits of political vision and moral witness, traversing a career of over forty years. With poetry, prose, letters, and more, this reader is a key resource for understanding the scope, complexity, and novelty of this pioneering Black American writer. From "Poem about Police Violence": Tell me something what you think would happen if everytime they kill a black boy then we kill a cop everytime they kill a black man then we kill a cop you think the accident rate would lower subsequently? . . . I lose consciousness of ugly bestial rabid and repetitive affront as when they tell me 18 cops in order to subdue one man 18 strangled him to death in the ensuing scuffle (don't you idolize the diction of the powerful: subdue and scuffle my oh my) and that the murder that the killing of Arthur Miller on a Brooklyn street was just a "justifiable accident" again (again) People been having accidents all over the globe so long like that I reckon that the only suitable insurance is a gun
Don't Call Us Dead by
Finalist for the National Book Award for Poetry "[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 groundbreaking 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 a diagnosis of HIV positive. "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 America--"Dear White America"--where every day is too often a funeral and not often enough a miracle.
Arkansippi Memwars by
Celebrating a career that spans four decades, Eugene B. Redmond's collected work--Arkansippi Memwars--triumphs. An award-winning poet, playwright and educator, Redmond represents through his body of work the veracity and audacity of the Black Arts Movement, the traditions of the Yoruba, and the complex history of the Black American. The poetry of Redmond moves to the cadence of drums stripped from his ancestors and reclaimed by the burgeoning Hip-Hop movement of the 1970s. Fearless, sharp, and satirically masterful are but a few words to describe the excellence of Eugene Redmond and his poetry.
Gil Scott-Heron by
Best known for his 1970 polemic "The Revolution Will Not Be Televised," Gil Scott-Heron was a musical icon who defied characterization. He tantalized audiences with his charismatic stage presence, and his biting, observant lyrics in such singles as "The Bottle" and "Johannesburg" provide a time capsule for a decade marked by turbulence, uncertainty, and racism. While he was exalted by his devoted fans as the "black Bob Dylan" (a term he hated) and widely sampled by the likes of Kanye West, Prince, Common, and Elvis Costello, he never really achieved mainstream success. Yet he maintained a cult following throughout his life, even as he grappled with the personal demons that fueled so many of his lyrics. Scott-Heron performed and occasionally recorded well into his later years, until eventually succumbing to his life-long struggle with addiction. He passed away in 2011, the end to what had become a hermit-like existence. In this biography, Marcus Baram--an acquaintance of Gil Scott-Heron's--will trace the volatile journey of a troubled musical genius. Baram will chart Scott-Heron's musical odyssey, from Chicago to Tennessee to New York: a drug addict's twisted path to redemption and enduring fame. InGil Scott-Heron: Pieces of a Man, Marcus Baram puts the complicated icon into full focus.
Incendiary Art by
Winner, NAACP Image Award for Outstanding Literary Work in the Poetry category Winner, 2018 Kingsley Tufts Poetry Award Winner, 2018 BCALA Best Poetry Award Finalist, Neustadt International Prize for Literature Winner, 2017 Los Angeles Times Book Prize Winner, Abel Meeropol Award for Social Justice Finalist, 2018 Pulitzer Prize for Poetry One of the most magnetic and esteemed poets in today's literary landscape, Patricia Smith fearlessly confronts the tyranny against the black male body and the tenacious grief of mothers in her compelling new collection, Incendiary Art. She writes an exhaustive lament for mothers of the "dark magicians," and revisits the devastating murder of Emmett Till. These dynamic sequences serve as a backdrop for present-day racial calamities and calls for resistance. Smith embraces elaborate and eloquent language-- "her gorgeous fallen son a horrid hidden / rot. Her tiny hand starts crushing roses--one by one / by one she wrecks the casket's spray. It's how she / mourns--a mother, still, despite the roar of thorns"-- as she sharpens her unerring focus on incidents of national mayhem and mourning. Smith envisions, reenvisions, and ultimately reinvents the role of witness with an incendiary fusion of forms, including prose poems, ghazals, sestinas, and sonnets. With poems impossible to turn away from, one of America's most electrifying writers reveals what is frightening, and what is revelatory, about history.
Origins of the Dream by
"Majestic. Grounded in astute interpretations of how speech acts function in history, this book is an exemplary model for future inquiries about the confluence of thought, poetry, and social action."--Jerry Ward Jr., coeditor of The Cambridge History of African American Literature "A vade mecum for those interested in the cultural ingredients, the political values, and the artistic sensibilities that united Langston Hughes and Martin Luther King Jr. in spirit, thought, and outlook. Masterfully conceived, meticulously researched, and gracefully written, this book breaks new ground."--Lewis V. Baldwin, author of There Is a Balm in Gilead: The Cultural Roots of Martin Luther King, Jr. "Archival material is spotlighted in Miller's exploration of the ways Martin Luther King Jr. enlarged the appeal of his rhetoric by using poetry in his speeches. Readers will emerge with a greater appreciation of both King and Langston Hughes."--Donna Akiba Sullivan Harper, editor of The Later Simple Stories (The Collected Works of Langston Hughes, Volume 8) "Miller's study provides an original, engaging and provocative thesis that explores the hitherto unexplored links between two twentieth century African American icons."--John A. Kirk, editor of Martin Luther King, Jr. and the Civil Rights Movement: Controversies and Debates For years, some scholars have privately suspected Martin Luther King Jr.'s "I Have a Dream" speech was connected to Langston Hughes's poetry, and the link between the two was purposefully veiled through careful allusions in King's orations. In Origins of the Dream, W. Jason Miller lifts that veil to demonstrate how Hughes's revolutionary poetry became a measurable inflection in King's voice, and that the influence can be found in more than just the one famous speech. Miller contends that by employing Hughes's metaphors in his speeches, King negotiated a political climate that sought to silence the poet's subversive voice. He argues that by using allusion rather than quotation, King avoided intensifying the threats and accusations against him, while allowing the nation to unconsciously embrace the incendiary ideas behind Hughes's poetry.
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St. Louis Community College Libraries |
Florissant Valley Campus Library |
Forest Park Campus Library |
Meramec Campus Library |
Wildwood Campus Library |
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