“I really do hate the idea that black joy itself is a joy derived in spite of. While it may indeed include that, limiting it to such assumes that joy among black people only exists as a defiant response to oppression from white people. I’d rather believe that black folk are capable of this deep supernatural sense without having to be enslaved or disenfranchised.” For the Boston Review, Jericho Brown on poetry and joy.
After our plea to lift The Bluest Eye‘s recent ban, The Nation has also come to Toni Morrison’s defense. “This pervasive sexual violence is reality for tens of thousands of students, a reality the Ohio Board of Ed is looking to whitewash with this latest censorship drive,” Peter Rothberg writes.
“These were not like other poems: within their consistent 16-line armature they were turbulent, mad, feverish, cryptic, an unruly union of boppy jive-talk, and thorny quasi-Elizabethan diction. It was impossible to tell who was speaking, or to whom; poems ended in mid-syllable, bristled with random phrases in foreign languages, sported menacing-looking accent marks and Shakespearean contractions, were riddled with ampersands and ellipses.” At The Rumpus, a memory of falling in love with The Dream Songs (which happens to nicely complement a piece we published back in April).
The LA Times has a review up of Eula Biss‘s On Immunity: An Innoculation, an “elegant, intelligent and very beautiful book, which occupies a space between research and reflection.” We covered the collection in our Second-Half 2014 Book Preview, and Biss’s first book, Notes from No Man’s Land, has appeared in several Millions pieces over the last few years.
“I Didn’t Tell Facebook I’m Engaged, So Why Is It Asking About My Fiancé?” or, FB continues to make people feel a little awkward.