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On February 14, 1863, twenty-six-year-old seaman James Henry Gooding volunteered to serve in the Massachusetts 54th, the first regiment of black soldiers ever recruited for the Union army. Over the next twelve months, he posted a series of remarkable letters from the front to his hometown newspaper, the staunchly abolitionist New Bedford Mercury. Written with insight and literary flair, his letters provide a vidid portrait of the war as seen through the eyes of a black volunteer.

From basic training at Camp Meigs in Readville, Massachusetts, through campaigns in Georgia, South Carolina, and Florida, Gooding faithfully records the activities of the 54th, including the legendary storming of Fort Wagner. He also voices the injustice felt by soldiers of his regiment over the issue of unequal pay, the refusal to promote deserving black enlistees to officer rank, and the deeply ingrained racism of whites in both the North and South.

Wounded and captured during the battle of Olustee, Florida, in February 1864, Gooding died later that year in Andersonville Prison.

In her introduction, Virginia M. Adams provides biographical details on Gooding's life and examines the antebellum history of New Bedford's large and articulate community of free blacks.

"Orpheus in the Bronx not only extols the freedom language affords us; it embodies that freedom, enacting poetry's greatest gift---the power to recognize ourselves as something other than what we are. These bracing arguments were written by a poet who sings."
---James Longenbach

A highly acute writer, scholar, editor, and critic, Reginald Shepherd brings to his work the sensibilities of a classicist and a contemporary theorist, an inheritor of the American high modernist canon, and a poet drawing and playing on popular culture, while simultaneously venturing into formal experimentation.

In the essays collected here, Shepherd offers probing meditations unified by a "resolute defense of poetry's autonomy, and a celebration of the liberatory and utopian possibilities such autonomy offers." Among the pieces included are an eloquent autobiographical essay setting out in the frankest terms the vicissitudes of a Bronx ghetto childhood; the escape offered by books and "gifted" status preserved by maternal determination; early loss and the equivalent of exile; and the formation of the writer's vocation. With the same frankness that he brings to autobiography, Shepherd also sets out his reasons for rejecting "identity politics" in poetry as an unnecessary trammeling of literary imagination. His study of the "urban pastoral," from Baudelaire through Eliot, Crane, and Gwendolyn Brooks, to Shepherd's own work, provides a fresh view of the place of urban landscape in American poetry.

Throughout his essays---as in his poetry---Shepherd juxtaposes unabashed lyricism, historical awareness, and in-your-face contemporaneity, bristling with intelligence.