Kirjahaku

A groundbreaking collection of abolitionist writing from throughout the history of American slaveryFrom the beginning of the transatlantic slave trade to the ambiguity of the reconstruction era, resistance and protest writing were a central part of slavery in America, and - ultimately - played a crucial role in its abolition. Placing well-known abolitionist writing alongside less celebrated and little-known accounts of everyday lives and activism, Unsung makes the case for focusing on the histories of black people as agents and architects of their own struggle and ultimate liberation.

Delivered in Young's classic bluesy tone, this powerful collection of poems about the American family, smoky Southern food, and the losses that time inevitably brings "bristles with life, nerve and, best of all, wit" (San Francisco Chronicle).

Now in paperback, from the award-winning author of Jelly Roll and Book of Hours, a rich and lively gathering of highlights from the first twenty years of an extraordinary career, interspersed with "B sides" and "bonus tracks" from this prolific and widely acclaimed poet. Blue Laws gathers poems written over the past two decades, drawing from all nine of Kevin Young's previously published books of poetry and including a number of uncollected, often unpublished, poems. From his stunning lyric debut (Most Way Home, 1995) and the amazing "double album" life of Jean-Michel Basquiat (2001;"remixed" for Knopf in 2005), through his brokenhearted Jelly Roll: A Blues (2003) and his recent forays into adult grief and the joys of birth in Dear Darkness (2008) and Book of Hours (2014), this collection provides a grand tour of a poet whose personal poems and political poems are equally riveting. Together with wonderful outtakes and previously unseen blues, the profoundly felt poems here of family, Southern food, and loss are of a piece with the depth of personal sensibility and humanity found in his Ardency: A Chronicle of the Amistad Rebels or bold sequences such as "The Ballad of Jim Crow" and a new "Homage to Phillis Wheatley."

In this jaunty and intimate collection, Kevin Young invents a language as shimmying and comic, as low-down and high-hearted, as the music from which he draws inspiration. With titles such as "Stride Piano," "Gutbucket," and "Can-Can," these poems have the sharp completeness of vocalized songs and follow a classic blues trajectory: praising and professing undying devotion ("To watch you walk / cross the room in your black / corduroys is to see / civilization start"), only to end up lamenting the loss of love ("No use driving / like rain, past / where you at"). As Young conquers the sorrow left on his doorstep, the poems broaden to embrace not just the wisdom that comes with heartbreak but the bittersweet wonder of triumphing over adversity at all. Sexy and tart, playfully blending an African American idiom with traditional lyric diction, Young's voice is pure American: joyous in its individualism and singing of the self at its strongest.

Revamped from its original "double album" version of 350 pages into this unique "remix," To Repel Ghosts captures the dynamic work and brief life of the artist Jean-Michel Basquiat. In spare, jazzlike verse Kevin Young tells the story of Basquiat's rise from the mock prophet and graffiti artist SAMO to one of the hottest painters of the 1980s ("blue-chip Basquiat / playing the bull / market"), exploring the artist's bouts with fame and heroin, mourning his untimely death, and celebrating his legacy. Along the way Young riffs on Basquiat's paintings and sayings, on the music he loved, on the artists he ran with (Andy Warhol and Keith Haring, among them), and on the black heroes (Charlie Parker, Muhammad Ali, Billie Holiday) who inspired him. Young's poetic channeling of Basquiat--a jostling, poignant brand of downtownspeak--makes for an urban epic in the tradition of Langston Hughes's "A Dream Deferred." To Repel Ghosts, along with Young's Jelly Roll: A Blues and Black Maria, his recent book of film noir verse, forms an American trilogy--Devil's Music--that explores other art forms through poetry. In its creation, Yound has become a poet whose work speaks both for and beyond his genre, with a music all its own.

The award-winning lively and excellent collection (Los Angeles Times) about the South and its legacy, about African-American griefs and passages, from the author of Jelly Roll and Black Maria, a poet who has set himself apart from his peers with his supple, variable, blues-inflected lines (Publishers Weekly)."

Now in paperback, a haunting chorus of voices that tells the story of the captivity, education, language, hopes, dreams, and fight for freedom, of the African Americans abducted in the "Amistad" rebellion. Based on the 1840 mutiny on board the slave ship "Amistad, Ardency" begins with "Buzzard," a sequence of poems told in the voice of the interpreter for the captive rebels, who were jailed in New Haven. In "Correspondence," we encounter the remarkable letters to John Quincy Adams and others that the captives wrote from jail. The book culminates in "Witness," a libretto chanted by Cinque, the rebel leader, who yearns for his family and freedom while eloquently evoking the Amistads' conversion and life in America. As Young conjures this array of characters, interweaving the liberation cry of Negro spirituals and the indoctrinating wordplay of American primers, he delivers his signature songlike immediacy at the service of an epic built on the ironies, violence, and virtues of American history.

A decade after the sudden and tragic loss of his father, we witness the unfolding of grief. "In the night I brush / my teeth with a razor," he tells us, in one of the collection's piercing two-line poems. Capturing the strange silence of bereavement ("Not the storm / but the calm / that slays me"), Kevin Young acknowledges, even celebrates, life's passages, his loss transformed and tempered in a sequence about the birth of his son: in "Crowning," he delivers what is surely one of the most powerful birth poems written by a man, describing "her face / full of fire, then groaning your face / out like a flower, blood-bloom, / crocused into air." Ending this book of both birth and grief, the gorgeous title sequence brings acceptance, asking "What good/are wishes if they aren't / used up?" while understanding "How to listen / to what's gone." Young's frank music speaks directly to the reader in these elemental poems, reminding us that the right words can both comfort us and enlarge our understanding of life's mysteries. "From the Hardcover edition."

From the award-winning poet at the height of his career, a book of personal and American experiences, both beautiful and troubling, touching on the generative cycle of loss and renewal Following on his exquisite Stones, Kevin Young's new collection, written over the span of sixteen years, shapes stories of loss and legacy, inspired in part by other lives. After starting in the bayous of his family's Louisiana, Young journeys to further states of mind in "All Souls," evoking "The whale / who finds the shore / & our poor prayers." Another central sequence, "The Two-Headed Nightingale," is spoken by Millie-Christine McCoy, the famous conjoined African American "Carolina Twins." Born into enslavement, stolen, and then displayed by P. T. Barnum and others, the twins later toured the world as free women, their alto and soprano voices harmonizing their own way. Young's poem explores their evolving philosophical selfhood and pluralities: "As one we sang, /we spake-- / She was the body / I the soul / Without one / Perishes the whole." In "Darkling," a cycle of poems inspired by Dante's Divine Comedy, Young expands and embroiders the circles of Hell, drawing a cosmology of both loneliness and accompaniment, where "the dead don't know / what to do / with themselves." Young writes of grief and hope as familiar yet surprising states: "It's like a language, / loss--," he writes, "learnt only / by living--there--." Evoking the history of poetry, from the darkling thrush to the darkling plain, Young is defiant and playful on the way through purgatory to a kind of paradise. When he goes, he warns, "don't dare sing Amazing Grace"--that "National / Anthem of Suffering." Instead, he suggests, "When I Fly Away, / Don't dare hold no vigil . . . Just burn the whole / Town on down." This collection will stand as one of Young's best--his voice shaping sorrow with music, wisdom, heartache, and wit.

In this fully updated and revised new edition of his landmark study of violence in and around contemporary sport, Kevin Young offers a comprehensive sociological analysis of an issue of central importance within sport studies. The book explores organised and spontaneous violence, both on the field and off, and calls for a much broader definition of ‘sports-related violence’, to include issues as diverse as criminal behaviour by players, abuse within sport and exploitative labour practices. Offering a sophisticated theoretical framework for understanding violence in a sporting context and including new case studies and updated empirical data – from professional soccer in Europe to ice hockey in North America – the book establishes a benchmark for the study of violence within sport and wider society. Through close examination of often contradictory trends, from anti-violence initiatives in professional sports leagues to the role of the media in encouraging hyper-aggression, the book throws new light on our understanding of the socially-embedded character of sport and its fundamental ties to history, culture, politics, social class, gender and the law. This new edition also recognises burgeoning new literatures, such as research examining concussion and the link between sport and mental illness and includes student-friendly pedagogical aids, such as critical thinking questions at the end of each chapter.Sport, Violence and Society is a vital read for anyone studying or working in the areas of the Sociology of Sport, Sport Psychology, Ethics and Philosophy of Sport, Sport and Politics, Sports History, and Sport and the Media.

In this fully updated and revised new edition of his landmark study of violence in and around contemporary sport, Kevin Young offers a comprehensive sociological analysis of an issue of central importance within sport studies. The book explores organised and spontaneous violence, both on the field and off, and calls for a much broader definition of ‘sports-related violence’, to include issues as diverse as criminal behaviour by players, abuse within sport and exploitative labour practices. Offering a sophisticated theoretical framework for understanding violence in a sporting context and including new case studies and updated empirical data – from professional soccer in Europe to ice hockey in North America – the book establishes a benchmark for the study of violence within sport and wider society. Through close examination of often contradictory trends, from anti-violence initiatives in professional sports leagues to the role of the media in encouraging hyper-aggression, the book throws new light on our understanding of the socially-embedded character of sport and its fundamental ties to history, culture, politics, social class, gender and the law. This new edition also recognises burgeoning new literatures, such as research examining concussion and the link between sport and mental illness and includes student-friendly pedagogical aids, such as critical thinking questions at the end of each chapter.Sport, Violence and Society is a vital read for anyone studying or working in the areas of the Sociology of Sport, Sport Psychology, Ethics and Philosophy of Sport, Sport and Politics, Sports History, and Sport and the Media.

James Brown. John Brown's raid. Brown v. the Topeka Board of Ed.: the National Book Award-longlisted author of Blue Laws meditates on all things "brown" in this powerful new collection. Divided into "Home Recordings" and "Field Recordings," Brown speaks to the way personal experience is shaped by culture, while culture is forever affected by the personal, recalling a black Kansas boyhood to comment on our times. From "History"--a song of Kansas high-school fixture Mr. W., who gave his students "the Sixties / minus Malcolm X, or Watts, / barely a march on Washington"--to "Money Road," a sobering pilgrimage to the site of Emmett Till's lynching, the poems engage place and the past and their intertwined power. These twenty-eight taut poems and poetic sequences, including an oratorio based on Mississippi "barkeep, activist, waiter" Booker Wright that was performed at Carnegie Hall and the vibrant sonnet cycle "De La Soul Is Dead," about the days when hip-hop was growing up ("we were black then, not yet / African American"), remind us that blackness and brownness tell an ongoing story. A testament to Young's own--and our collective--experience, Brown offers beautiful, sustained harmonies from a poet whose wisdom deepens with time.

A book of loss, looking back, and what binds us to life, by a towering poetic talent, called "one of the poetry stars of his generation" (Los Angeles Times). "We sleep long, / if not sound," Kevin Young writes early on in this exquisite gathering of poems, "Till the end/ we sing / into the wind." In scenes and settings that circle family and the generations in the American South--one poem, "Kith," exploring that strange bedfellow of "kin"--the speaker and his young son wander among the stones of their ancestors. "Like heat he seeks them, / my son, thirsting / to learn those / he don't know / are his dead." Whether it's the fireflies of a Louisiana summer caught in a mason jar (doomed by their collection), or his grandmother, Mama Annie, who latches the screen door when someone steps out for just a moment, all that makes up our flickering precarious joy, all that we want to protect, is lifted into the light in this moving book. Stones becomes an ode to Young's home places and his dear departed, and to what of them--of us--poetry can save.

*Finalist for the 2012 National Book Critics Circle Award for Criticism* *A Publishers Weekly Top 10 Literary Criticism and Essays Pick for Spring 2012* The Grey Album, the first work of prose by the brilliant poet Kevin Young, winner of the Graywolf Press Nonfiction Prize Taking its title from Danger Mouse's pioneering mashup of Jay-Z's The Black Album and the Beatles' The White Album, Kevin Young's encyclopedic book combines essay, cultural criticism, and lyrical choruses to illustrate the African American tradition of lying--storytelling, telling tales, fibbing, improvising, "jazzing." What emerges is a persuasive argument for the many ways that African American culture is American culture, and for the centrality of art--and artfulness--to our daily life. Moving from gospel to soul, funk to freestyle, Young sifts through the shadows, the bootleg, the remix, the grey areas of our history, literature, and music.

Encompassing America's African-American landscape and rich oral histories of the South, this poetry collection centers on the concept of "home" and explores conflicts between black and white, North and South, ancestral and modern.

A literary landmark: the biggest, most ambitious anthology of black poetry ever published, gathering 250 poets from the colonial period to the present Only now, in the 21st century, can we fully grasp the breadth and range of African American poetry: a magnificent chorus of voices, some familiar, others recently rescued from neglect. Here, in this unprecedented anthology expertly selected by poet and scholar Kevin Young, this precious living heritage is revealed in all its power, beauty, and multiplicity. Discover, in these pages, how an enslaved person like Phillis Wheatley confronted her legal status in verse and how an antebellum activist like Frances Ellen Watkins Harper voiced her own passionate resistance to slavery. Read nuanced, provocative poetic meditations on identity and self-assertion stretching from Paul Laurence Dunbar to Amiri Baraka to Lucille Clifton and beyond. Experience the transformation of poetic modernism in the works of figures such as Langston Hughes, Fenton Johnson, and Jean Toomer. Understand the threads of poetic history--in movements such as the Harlem and Chicago Renaissances, Black Arts, Cave Canem, Dark Noise Collective--and the complex bonds of solidarity and dialogue among poets across time and place. See how these poets have celebrated their African heritage and have connected with other communities in the African Diaspora. Enjoy the varied but distinctly Black music of a tradition that draws deeply from jazz, hip hop, and the rhythms and cadences of the pulpit, the barbershop, and the street. And appreciate, in the anthology's concluding sections, why contemporary African American poetry, amply recognized in recent National Book Awards and Poet Laureates, is flourishing as never before. Taking the measure of the tradition in a single indispensable volume, African American Poetry: 250 Years of Struggle and Song sets a new standard for a genuinely deep engagement with Black poetry and its essential expression of American genius.

"The Art of Losing "is the first anthology of its kind, delivering poetry with a purpose. Editor Kevin Young has introduced and selected 150 devastatingly beautiful poems that embrace the pain and heartbreak of mourning. Divided into five sections (Reckoning, Remembrance, Rituals, Recovery, and Redemption), with poems by some of our most beloved poets as well as the best of the current generation of poets, "The Art of Losing" is the ideal gift for a loved one in a time of need and for use by therapists, ministers, rabbis, and palliative care workers who tend to those who are experiencing loss. Among the poets included: Elizabeth Alexander, W. H. Auden, Amy Clampitt, Billy Collins, Emily Dickinson, Louise Gluck, Ted Hughes, Galway Kinnell, Kenneth Koch, Philip Larkin, Li-Young Lee, Philip Levine, Marianne Moore, Sharon Olds, Mary Oliver, Robert Pinsky, Adrienne Rich, Theodore Roethke, Anne Sexton, Wallace Stevens, Dylan Thomas, Derek Walcott, and James Wright.

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**SHORTLISTED FOR THE T.S. ELIOT PRIZE 2021**A book of loss, looking back, and what binds us to life, by a towering poetic talent, 'one of the poetry stars of his generation' (Los Angeles Times).'We sleep long, / if not sound,' Kevin Young writes early on in this exquisite gathering of poems, 'Till the end / we sing / into the wind.' In scenes and settings that circle family and the generations in the American South - one poem, 'Kith', exploring that strange bedfellow of 'kin' - the speaker and his young son wander among the stones of their ancestors. 'Like heat he seeks them, / my son, thirsting / to learn those / he don't know / are his dead.' Whether it's the fireflies of a Louisiana summer caught in a mason jar (doomed by their collection), or his grandmother, Mama Annie, who latches the screen door when someone steps out for just a moment, all that makes up our flickering, precarious joy, all that we want to protect, is lifted into the light in this moving book. Stones becomes an ode to Young's home places and his dear departed, and to what of them - of us - poetry can save.

'One of the most important poets of his generation' Washington PostA richly evocative and moving collection about African American identity and history, this is an ode to home places and the dearly departed, and to what of them – of us – poetry can save.In bellowing declarations of suffering and whispered prayers of faith, Night Watch speaks to an inner history which is compelling and authentic and deeply American, rippling with timely and devastating truths about the insidious nature of the American nation.'Keeping up with him is like trying to keep up with Bob Dylan or Prince in their primes' New York Times