New Books: Poetry & Translation

A number of new books now grace my desk, so here is a little information on several that I have had a hand in. I'll begin with Rodney Gomez's Mouth Filled with Night, the second winner of the Drinking Gourd Poetry Chapbook Prize, a national honor given to an emerging poet of color, resulting in a beautiful chapbook published by Northwestern University Press. During my final year and a half at Northwestern, I served on the planning committee and as a judge for the inaugural prize, when a committee of poets and literary scholars awarded to Kristiana Rae Colón, for her striking, powerful book of poems, Promised Instruments.

Before I left, I again participated on jury that selected Rodney Gomez's vivid, moving poems for this year's prize. As the images below show, these are not just impressive first literary sallies, but beautiful books in themselves, and I highly recommend both, as well as eminent poet and Northwestern professor Ed Roberson's Closest Pronunciation, which was also published, as a volume by a senior poet, in conjunction with the contest. Since I left Northwestern I am no longer involved in the Drinking Gourd Poetry Chapbook contest, but I wish the winners my heartiest congratulations, and the prize itself, which introduces the work of writers who might otherwise see publication by such a distinguished press to a wide audience, the very best.

Rodney Gomez's Mouth Filled with Night (2014)

Kristiana Rae Colón's Promised Instruments (2012)

Ed Roberson's Closest Pronunciation (2012)

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During the period that I was moving back to New Jersey, I began to become involved in helping to launch another wonderful, invaluable book publishing project, The African Poetry Book Series, one component of the African Poetry Book Fund, which the multitalented, prodigious and visionary poet and critic Kwame Dawes helms, at the University of Nebraska. Its mission, to quote the APBF website is as follows:

The African Poetry Book Fund promotes and advances the development and publication of the poetic arts through its book series, contests, workshops, and seminars and through its collaborations with publishers, festivals, booking agents, colleges, universities, conferences and all other entities that share an interest in the poetic arts of Africa. The Fund is committed to seeking the resources to support this mission and to ensure that all its efforts are carried out with excellence.

The Fund will, through the Series and other projects, promote the writing and publication of African poetry through an international complex of additional collaborations and partnerships. The Fund and its partners will offer support for seminars, workshops and other publishing opportunities for African poets.

The other APBF editorial board members include Chris Abani, Matthew Shenoda, Gabeba Baderoon, and Bernadine Evaristo. Distinguished figures from the worlds of literature, business and publishing fill the Advisory Board.

Among the first books the APBF will publish, two are now in print: the winner of the first Sillerman First Book Prize for African Poets, which is Kenyan poet Clifton Gachagua's wry, ever-fresh and compelling Madman at Kilifi, and the great, late Ghanaian poet, novelist, teacher and mentor Kofi Awoonor's The Promise of Hope: New and Selected Poems, 1964-2013, which was in process before his tragic death last fall at the Westgate Towers in Kenya, and which serves as a fine tribute to his extensive poetic gifts and legacy. Both books, published by the University of Nebraska Press, will officially reach bookstores on March 4, 2014, but you can put your orders in now and receive them as soon as they appear. More APBF books are on the horizon, so check the APBF site to see when they will appear.

Clifton Gachagua's Madman at Kilifi and
Kofi Awoonor's The Promise of Hope: New
and Selected Poems, 1964-2013

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Finally, but not least, a year's work has now achieved fruition with the official release, as of today, of Brazilian writer Hilda Hilst's 1991 masterpiece Letters from a Seducer, which I translated into English last year, working closely with Brazilian publisher A Bolha Editora and its editors, Rachel Gontijo Araújo and Stephanie Sauer (now no longer with the house), and US publisher Nightboat Books and its head, Stephen Motika, who have jointly released the volume pictured below. You can purchase a copy directly from University Presses of New England, who distribute Nightboat's books, or from one of the many online bookstores. Or you can check your local bookstore and if they don't have a copy in-store, urge them to order one or some. I will say only that this text of Hilst's isn't for the faint of heart, just as it wasn't in the original Portuguese, but if you looking for a book that truly charts a distinctive path in late 20th century literature, with a heady dose of trangressive sex, literary intertextuality, meta-critique of writing, and textual depth and music, as well as humor, that could give William S. Burroughs or Kathy Acker runs for their money, Hilst's Letters from a Seducer should be in your hands, pronto.

Hilda Hilst's Letters from a Seducer

RIP Donald Agarrat + Kofi Awoonor

Donald Agarrat (photo © Jen Bekman, from Flickr)

Two days ago, I learned via a Facebook post that Donald Agarrat, a photographer and web designer C and I have known for about a decade and a half, had passed away. There were no details. Subsequent posts from his friend, author, editor and archivist Steve Fullwood, have revealed that Donald was found dead in his apartment. He lived alone in Harlem. While Donald and I were not running buddies, we maintained an acquaintance that became a friendship over the years, especially via the net, and were linked on Flickr, Twitter, and, first and foremost, our blogs (he had inaugurated several different versions of Anzi Design). I first came to know of him online, and then in person via mutual friends, and quickly learned about his web design work, which many people affirmed and swore by. I soon learned of his photography, an art genre for which he had real talent, such that his work was highlighted, as part of its Harlem Postcards series, by The Studio Museum in Harlem. I also would run into him when he worked at Tek-Serve in the Village, but once I went out to Chicago, we communicated mainly online.

Donald in June (photo by John Keene)

Donald was a gentle, witty, often hilarious soul, someone deeply rooted in the communities (black, queer/sgl, artists, tech, and more) to which he belonged, all of which he affirmed in his life and work, and he had eyes and a face so expressive they could stop traffic, a smile that was unforgettable. I associate him not only with the visual but with the music he loved. Many were the times he would send a message letting friends know about an upcoming show he hoped to attend. I feel fortunate to have been able to hang out with him this past June, when my dear friend Tisa Bryant came to town to read and participate in a public conversation at the Schomburg Center for Research in Black Culture. Donald was there, taking pictures he posted to Flickr, images that capture more than just what happened but the life of any given moment, the person beneath the face, something richer and more soulful, something beautiful. I snapped a photo of him that I have posted above; we talked at dinner little afterwards, and later as we all walked through Harlem. It was too brief; I wish I had called him to hang out more since I've been back. I also don't think he received his due as an artist, but many people I know appreciated him and his work, as I did and do. We will all miss him. As I wrote on Twitter, one of the spaces in which we chatted from time to time, the flowers of his soul will be with us always.''

Donald's family is raising money to bury him properly. If you want to and can contribute, you may do so here: Donald Agarrat Memorial Fund.

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Kofi Awoonor

We have all heard of yesterday's horrific Al-Shabaab attack on the Westgate shopping mall in Nairobi, Kenya. As I write this entry, 68 people are said to have been killed, and over a hundred wounded. The Kenyan military has tweeted that it has rescued most of the hostages, but it remains unclear whether or not they have captured or subdued the assailants, who were vowing earlier to no negotations. Among the many killed in this horrible event was one of the greatest living Anglophone African poets, 78-year-old Ghanaian éminence grise, former diplomat and government official Kofi Awoonor (b. 1935), who was attending the Storymoja Hay Festival, a four-day gathering of storytelling and writing in Nairobi, and who was shopping with his son when the Al-Shabaab attackers burst in. Awoonor was slated to read the evening he was killed.  His son, though wounded, is expected to fully recover from his injuries.

Kofi Awoonor was born in Ghana when it was still a British colony known as The Gold Coast, and began publishing his poetry in the 1960s under the name George Awoonor-Williams. His work, which included poetry, novels, plays and essays, is perhaps most strongly informed by his native Ewe oral traditions (his grandmother was an Ewe dirge-singer), though one can also see parallels in the later poems to other emergent African poetries of the independence era and African Diasporic poetries, as well as the influences of the Modernist-era and mid-century Anglophone lyric.

Awoonor studied at the University of Ghana and University College, London, and lived in exile in the United States in the 1970s, where he received his PhD at and served as chairman of the department of comparative literature at SUNY Stony Brook and published two of his major books, the novel-in-verse This Earth, My Brother and the poetry collection The Night of My Blood.

After returning to Ghana to teach at the University of the Cape Coast, he was imprisoned in 1975 on the pretext of participation in a coup, which sparked worldwide condemnation. He also served as Ghana's ambassador to Cuba and Brazil in the 1980s, and as the country's 8th Permanent Representative (Ambassador) to the United Nations from 1990-1994, where he headed the committee against Apartheid. Earlier he had served as Ghana's Chairman of the Council of State.

The University of Nebraska Press, in conjunction with the African Poetry Book Series, established by the editor of Prairie Schooner, the eminent Ghanaian-Jamaican poet and editor Kwame Dawes, is slated to publish Awoonor's New and Selected Poems: 1964-2013 next year, with an introduction by fellow Ghanaian poet and scholar Kofi Anyidoho. It was to be perhaps one capstone to an exceptional career, but the book will now also serve as a tribute to a poet, statesman, teacher, mentor, and friend to countless other writers, across Ghana, across Africa, across Africa, and all over the globe. As Kwame Dawes wrote on Twitter: “Kofi Awoonor's death is a sad sad moment here in Nairobi. We have lost one of the greatest African poets and diplomats. I've lost my uncle. I woke hoping that the news I got late in the night was false.”

THE WEAVER BIRD

The weaver bird built in our house
And laid its eggs on our only tree
We did not want to send it away

We watched the building of the nest
And supervised the egg-laying.
And the weaver returned in the guise of the owner
Preaching salvation to us that own the house
They say it came from the west
Where the storms at the sea has felled the gulls
And the fishers dried their nets by the lantern light
Its sermon is the divination of ourselves
And over new horizons limit at its nest
But we cannot join the prayers and the answers of the communicants.
We look for new homes every day,
For new altars we strive to rebuild
The old shrines defiled from the weaver’s excrement

Copyright © Kofi Awoonor, from Poetry Foundation Ghana, 2013. All rights reserved.