front cover of Teeth
Teeth
Aracelis Girmay
Northwestern University Press, 2007
Winner, 2015 Whiting Award for Poetry 

Stunning, highly original poems that celebrate the richness of the author's multicultural tradition, Teeth explores loves, wars, wild hope, defiance, and the spirit of creativity in a daring use of language and syntax. Behind this language one senses a powerful, inventive woman who is not afraid to tackle any subject, including rape, genocide, and love, always sustained by an optimistic voice, assuring us that in the end justice will triumph and love will persevere.

LOVE,
you be the reason why
we swagger & jive,

lift the guitar, & pick up the axe.
when it is i tilt my hat to the side,
wearing colors & perfumes, it's cause, love,
you did it to me. oh,
you do sure turn my tongue to fiddle,
& make the salt taste sweet. man,
i don't need a rooster, or peacock even,
to help me spend my time, nope,
just you, love, right & solid as
a line.

[more]

front cover of What Saves Us
What Saves Us
Poems of Empathy and Outrage in the Age of Trump
Edited by Martín Espada
Northwestern University Press, 2019

This is an anthology of poems in the Age of Trump—and much more than Trump. These are poems that either embody or express a sense of empathy or outrage, both prior to and following his election, since it is empathy the president lacks and outrage he provokes.

There is an extraordinary diversity of voices here. The ninety-three poets featured include Elizabeth Alexander, Julia Alvarez, Richard Blanco, Carolyn Forché, Aracelis Girmay, Donald Hall, Juan Felipe Herrera, Yusef Komunyakaa, Naomi Shihab Nye, Marge Piercy, Robert Pinsky, Danez Smith, Patricia Smith, Brian Turner, Ocean Vuong, Bruce Weigl, and Eleanor Wilner. They speak of persecuted and scapegoated immigrants. They bear witness to violence: police brutality against African Americans, mass shootings in a school or synagogue, the rage inflicted on women everywhere. They testify to poverty: the waitress surviving on leftovers at the restaurant, the battles of a teacher in a shelter for homeless mothers, the emergency-room doctor listening to the heartbeats of his patients. There are voices of labor, in the factory and the fields. There are prophetic voices, imploring us to imagine the world we will leave behind in ruins lest we speak and act.

However, this is not merely a collection of grievances. The poets build bridges. One poet steps up to translate in Arabic at the airport; another walks through the city and sees her immigrant past in the immigrant present; another declaims a musical manifesto after the hurricane that devastated his island; another evokes a demonstration in the street, shouting in an ecstasy of defiance. The poets take back the language, resisting the demagogic corruption of words themselves. They assert our common humanity in the face of dehumanization.

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