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Review
“This singular poetry collection is a dynamic meditation on the experience of, and societal narratives surrounding, contemporary black womanhood. . . . Ranging from orderly couplets to an itemized list titled after Jay Z’s "99 Problems" to lines interrupted by gaping white space, these exquisite poems defy categorization.†- The New Yorker“Morgan Parker''s bombastic second book profoundly expresses a black millennial consciousness with anger and appetite. Everywhere Parker looks, she sees a wildly messed-up world ― "There's far too many of me dying"; "The President be like/ we lost a young boy today." She also answers a personal and public mandate to re-envision it through humor and confrontation.†- NPR.org“[A] brash, risqué collection that explores what it means to be a black woman in contemporary American culture. Parker, whose first book won the Gatewood Prize, is as self-assured as the women who appear in these pages, including Queen Latifah, Nikki Giovanni and Michelle Obama. Cultural references, old songs and classic poems spark observations about feminism, sex and desire at a time when “There’s far too many of me dying./ The present is not so different.†. . . Each woman in this fierce collection wants to be seen for who she is, not what society wants her to be, and each demands respect.†- The Washington Post“Parker’s poems brings heat to the art of Mickalene Thomas, the racial politics of Barack Obama’s presidency, the body politics of Beyoncé and the danger of moving through America in a black body.†- TIME Magazine, Best Paperbacks of 2017“Parker’s poetry is a sledgehammer covered in silk, exposing black women’s vulnerability and power and underscoring what it means to be magical and in pain. This collection is a must for anyone who recognizes that celebrity is an extension of American culture ― and for those who don''t, it will transform their perspective.†- BuzzFeed“Parker’s second collection . . . exquisitely examines American values, often summoning its celebrities―Beyoncé, Michelle Obama, Lou Reed―to illuminate society’s staggering shortcomings and the intricacies of black womanhood. . . . [T]hese poems are, without a doubt, Parker’s as she encapsulates vulnerability, feminism, and utter fearlessness in rhythmic, glittering verse.†- Booklist“Morgan Parker''s second book of poetry, There Are More Beautiful Things Than Beyoncé (Tin House Books), isn't just the most ferocious collection to be published this year. It's also an antidote to the culture of hate and white supremacy . . . part psychic excavation, part historical exorcism. Having watched Nina Simone in concert on YouTube most of my adult life, I've finally found an experience to compare that to.†- Interview Magazine“Employing fierce language and eschewing fear of unflattering light, Parker (Other People’s Comfort Keeps Me Up at Night) pays homage to the deep roots and collective wisdom of black womanhood. Parker’s poems are as flame-forged as a chain locked around soft ankles.†- Publishers Weekly, Starred Review“[A] tremendous new collection.†- The Paris Review“Parker weaves together Marvin Gaye lyrics, texting slang, and a critical, caring perspective on black womanhood to createpoems that are both radically powerful and laugh-out-loud funny.†- VICE
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About the Author
Morgan Parker is the author of There Are More Beautiful Things Than Beyoncé and Other People’s Comfort Keeps Me Up At Night. Her poetry and essays have appeared in Tin House, the Paris Review, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop, Best American Poetry 2016, the New York Times, and the Nation. She is the recipient of a 2017 National Endowment for the Arts Literature Fellowship, winner of a 2016 Pushcart Prize, and a Cave Canem graduate fellow.
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Product details
Paperback: 80 pages
Publisher: Tin House Books; 1 edition (February 14, 2017)
Language: English
ISBN-10: 1941040535
ISBN-13: 978-1941040539
Product Dimensions:
5.5 x 0.3 x 8.5 inches
Shipping Weight: 4.8 ounces (View shipping rates and policies)
Average Customer Review:
3.9 out of 5 stars
34 customer reviews
Amazon Best Sellers Rank:
#69,852 in Books (See Top 100 in Books)
I first encountered Morgan Parker's work when I read "The President Has Never Said the Word Black" in The New York Times. It was a deeply moving piece of writing, so when I learned that she had a forthcoming poetry collection, I became determined to read it. The collection starts off with a bang. The opening poem, "All They Want Is My Money My Pussy My Blood" is textured, disjointed and layered. It builds and builds and builds, immersing the reader in historical fact, numerous popular culture references, and tons of clever critique. Parker uses her poems to explore the themes of possession and self-ownership, the imminence of death, meaning of commodification, economies of desire, technology, appropriation, depression, and, of course, the shapes of Black womanhood. Her style shifts with each and every poem. Some poems are written a form that makes their meanings clear while others require the reader to read between and beneath the verses. The collection isn't about Beyoncé per se, but rather the vexed sociopolitical and sociocultural critiques that have been thrust upon Beyoncé, the burdens she's been appointed to carry. My favorite poems included "The Gospel of Jesus's Wife," "What Beyoncé Won't Say on a Shrink's Couch," and "Please Wait (Or, There Are More Beautiful Things Than Beyoncé." Parker's brilliant style is difficult; she forces her reader to be present and do the hard work of thinking carefully and critically.I received an ARC of this book from the author and publisher via NetGalley in exchange for an honest review.
One of the most stunning pieces of literature I have read in a while. The only thing I can say is that I felt like this collection of poems read me; I didn't read it. It's a most needed perspective of the lives of young black women, their struggles, and their modernity, as told through poetry. This work grounded me. Worth the read!
I did not buy this book for its provocative cover (although it sure does make me think all sorts of things when I look at it). Morgan Parker is one defining poet of this new world we all seem to muddling through as angry confused fools. Reading Parker makes me feel like maybe we aren't just going to muddle through to some new calm but we're actually going to transcend our confusion and figure out how to be smart again. Certainly our American idiomatic reality is pushed to new heights, our language gets new meanings too and poetry takes back some of the power it has relinquished to other art forms.
Parker's poems are feminist fire. There are so many good lines in them, but my favorite are from "It's Getting Hot in Here So Take Off All Your Clothes": "I cut out men's tongues & / I sharpen myself & I'm scary & I'm bossy: / I'm the chick who raises snakes like a volcano / spews its desert under pressure. Volcanic / in the streets & volcanic in the bed." "Boss / you all night long. & of course I mean sex / but I mean teaching, too. Black girl rage, flawless. / This diamond my diamond in a volcano's / hot, lost city. & I do not mean helpless." Highly recommended collection of sizzling poems.
These poems aren't an easy read. It sometimes took me two rereads just to digest the words of one of her poems; however, this is powerful stuff. Parker holds up a unique lens to our culture, to womanhood, to feminism, to black culture that shouldn't be ignored. I loved it. My friends and I are using this book next month for our book club and I can't wait to discuss it with them.
You will need to read more than once. It is champagne and fried chicken. High and low, sad but hopeful. It is a woman with eyes open.
Many favorites, highlights and underlining here.
I am not usually a poetry reader, but lately I’ve been in a lyrical mood. Parker’s collection popped up on Amazon’s suggestions of things I might like, next to my eye cream and ink cartridges. It’s probably not a good idea to read an entire book of poetry, now matter how short, in one sitting, but I did. It’s difficult for me to talk about this collection because it’s one of the many things about which I wonder: is this made for me? What I can do without an answer to that question is appreciate the sheer power of Parker’s words. These poems mix everything (race, gender, class, personhood, etc. etc.) together in one glass, but nothing gets diluted. I am constantly reminded that I don’t understand. These poems make me uncomfortable yet right at home. This collection is incredibly present and urgent, but reflective like a eulogy. When you finish a book and you don’t know what to do next, that’s usually a good sign.
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