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Fantasia for the Man in Blue
Four Way Books, 2020 Paper: 978-1-945588-49-5 | eISBN: 978-1-945588-65-5 Library of Congress Classification PS3602.L679F36 2020 Dewey Decimal Classification 811.6
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS
ABOUT THIS BOOK
In his debut collection Fantasia for the Man in Blue, Tommye Blount orchestrates a chorus of distinct, unforgettable voices that speak to the experience of the black, queer body as a site of desire and violence. A black man’s late-night encounter with a police officer—the titular “man in blue”—becomes an extended meditation on a dangerous erotic fantasy. The late Luther Vandross, resurrected here in a suite of poems, addresses the contradiction between his public persona and a life spent largely in the closet: “It’s a calling, this hunger / to sing for a love I’m too ashamed to want for myself.” In “Aaron McKinney Cleans His Magnum,” the convicted killer imagines the barrel of the gun he used to bludgeon Matthew Shepard as an “infant’s small mouth” as well as the “sad calculator” that was “built to subtract from and divide a town.” In these and other poems, Blount viscerally captures the experience of the “other” and locates us squarely within these personae. See other books on: African American & Black | Blue | LGBTQ+ | Man | Poetry See other titles from Four Way Books |
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Nearby on shelf for American literature / Individual authors / 2001-:
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Fantasia for the Man in Blue
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS
Four Way Books, 2020
Paper: 978-1-945588-49-5
eISBN: 978-1-945588-65-5
Paper: 978-1-945588-49-5
eISBN: 978-1-945588-65-5
In his debut collection Fantasia for the Man in Blue, Tommye Blount orchestrates a chorus of distinct, unforgettable voices that speak to the experience of the black, queer body as a site of desire and violence. A black man’s late-night encounter with a police officer—the titular “man in blue”—becomes an extended meditation on a dangerous erotic fantasy. The late Luther Vandross, resurrected here in a suite of poems, addresses the contradiction between his public persona and a life spent largely in the closet: “It’s a calling, this hunger / to sing for a love I’m too ashamed to want for myself.” In “Aaron McKinney Cleans His Magnum,” the convicted killer imagines the barrel of the gun he used to bludgeon Matthew Shepard as an “infant’s small mouth” as well as the “sad calculator” that was “built to subtract from and divide a town.” In these and other poems, Blount viscerally captures the experience of the “other” and locates us squarely within these personae.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS
