In 1994, Wanda Coleman published American Sonnets, full of sonnets (14 lines, 10 syllables) that—among other things—don’t rhyme. The sonnets in Terrance Hayes’s American Sonnets for My Past and Future Assassin (2018) pay tribute to Coleman, and continue her project of experimentation with an old, often revered form. For Slate, Stephanie Burt writes about Hayes, American sonnets, and confinement: “Lyric poetry—the poet imagines—works by finding words for someone’s passions, which could also be your own: it can get you out of your one situation, your one body, your one life, though it will not literally free you from a literal jail.” Hayes’s sonnets may intentionally evoke feelings of confinement or discomfort in us, but they also contain the potential to lead toward liberation.
“The city has the beckoning power of a black hole or the Italian countryside or a castle. There is no way to explain our wiring to someone whose fairytale has always ended somewhere like Florida.” Aisha Sabatini Sloan on calling Detroit home, over at The Offing. Also check out Bill Morris’s Millions piece on movies set in the city.
Colum McCann can add the International IMPAC Dublin Literary Award to the long list of accolades he has received for Let the Great World Spin. The book is a Millions Hall of Famer and our coverage of the title has been fairly extensive. Previously: Digging into the 2011 IMPAC Longlist, The Eclectic IMPAC Shortlist Has Arrived.