From Publishers Weekly
The first African-American woman to win a Pulitzer Prize, Brooks (1917-2000) moved from early, formally intricate verse about American life, through a brilliantly jagged free verse attuned to the turbulence of the late 1960s, into a populist hortatory style that reached a very wide audience. Brooks prepared this new-and-selected volume shortly before her death; its titular sequence, published in Ebony in 1971, has never appeared in book form. That sequence praises Alabama's civil rights workers, incorporating their speech and giving the flavor and the micro-history of that important period as few other poets could. The selection concludes with the pivotal, and critically admired, long poem "In the Mecca" (1968), a harrowing narrative set in a Chicago housing project. The rest of the book collects poems from Brooks's later phase, many of them about or addressed to the young; the sequence "Children Coming Home" consists of short, moving verse-monologues by boys and girls from Chicago's South Side. Other poems praise named individuals, from the social reformer Jane Addams to a deceased child to Danny Glover ("Danny Glover is/ a good poem"). An ode to Winnie Mandela ("the She of our vision, the Code") appears now as Brooks's last ambitious work, and includes a deservedly proud mission statement: "We blue-print/ not merely our survival but a flowering."
Copyright 2003 Reed Business Information, Inc.
The beloved Chicago poet's many fans will welcome this posthumous collection consisting primarily of dramatic monologues in a stunning variety of voices, from those of urban children to Winnie Mandela's. Reading the title sequence resembles randomly tuning a radio dial to listen to the diverse voices of Montgomery, Alabama, a city of "leaning and lostness, glazed paralysis." Despite apathy and fear, Brooks finds hope: "there will be changes," a "dark-dapper" politician tells her, "the determined knocking / on doors that are closed." Especially moving are the children's monologues. Tinsel Marie tells of loving to learn about "nothing necessary," such as the tropical flowers she will never see in her crack-filthy home; Merle, of the uncle who "likes me too much" and of fearing the future; Al, of fighting the dealers and getting beaten for his iron spirit. Neither idealizing nor pitying them, Brooks captures the fierce purity of these children's needs and desires. Her loving witness never sounded more clearly than in these late poems.
Patricia MonaghanCopyright © American Library Association. All rights reserved