The Genuine Negro Hero (Wick Poetry Chapbook Series, Ser. 2, No. 9.) by Thomas Sayers Ellis |
by Thomas Sayers Ellis
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Editorial Reviews
From Library Journal
Melnyczuk, the founder of Agni magazine and editor of this volume, has done a highly professional job of selecting the most readable works by three promising young poets, each with a distinctive voice. Thomas Sayers Ellis, the most accessible of the trio, evokes his African American childhood with images of pick-up basketball games, drug deals, and tenements of "rats and roaches," in a world where the street stretched "like skin." Larissa Szporluk is the most self-consciously artistic, with titles like "Radiolaria," "Ideogram," and "Anhedonia." In her hands, everything becomes metaphor, and she specializes in oblique narratives of sexual abuse and frustration. Her effects are breathtaking: "Part of the sky is all of the sky/ The rest is wasted." Joe Osterhaus is a painterly craftsman, creating vivid interior scenes of family conflict, as in the poem about a suicide pact in which the man is left with a "sash of blood on his head." Take Three is interesting and engaging throughout, a wise investment for all collections.-Daniel L. Guillory, Millikin Univ., Decatur, Ill. Twentieth-Century Latin American Poetry: A Bilingual Anthology.
Copyright 1996 Reed Business Information, Inc.
Copyright 1996 Reed Business Information, Inc.
From Booklist
The magazine AGNI launches a new poets series with the work of three dissimilar and promising hands. Thomas Sayers Ellis has a streetwise voice; each of his poems is violent in either language or subject matter. For him, even the arms raised to testify in a Baptist church congregation have "fists flying like bullets" ; in a piece about a local market reopening, Ellis remembers the earlier "rats and roaches that plotted while we were asleep--/ How to get their claws and sharp teeth on our meat." Larissa Szporluk is more interested in imagery than narrative; for example, "This is the war summer. / Clowns really shake / in the stutter / of low-flying airplanes." Her landscapes are overgrown, slightly dark; not quite forgotten tragedies shade every line. Joe Osterhaus, rather the Boston brahmin, displays his knowledge of the classics and history before expounding on the beauties of nature in a poetry of clean edges and spotless phrasing. This satisfying sampler makes one hope the series it begins continues for many years. Elizabeth Millard
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