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bookclub4m · 8 months

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30 Recent Poetry Collections by BIPOC Authors

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

This booklist features books from BIPOC poets published in the past three years.

Chrome Valley by Mahogany L. Browne

Feast by Ina Cariño

Your Emergency Contact Has Experienced an Emergency by Chen Chen

Girls That Never Die: Poems by Safia Elhillo

Content Warning: Everything by Akwaeke Emezi

I Do Everything I'm Told by Megan Fernandes

Living Nations, Living Words: An Anthology of First Peoples Poetry edited by Joy Harjo

Song of my Softening by Omotara James

Spells, Wishes, and the Talking Dead / Mamaht́wisiwin, Pakos̊yimow, Nikihci-́niskot́ṕn : Poems by Wanda John-Kehewin

Burning Like Her Own Planet by Vandana Khanna

Phantom Pain Wings by Kim Hyesoon, translated by Don Mee Choi

Bianca by Eugenia Leigh

Finna by Nate Marshall

Slam Coalkan Performance Poetry: The Condor and the Eagle Meet edited by Jennifer Murrin

God Themselves by Jae Nichelle

You Are Only Just Beginning: Lessons for the Journey Ahead by Morgan Harper Nichols

I’m Always So Serious by Karisma Price

Homie by Danez Smith

Blood Snow by dg nanouk okpik

Promises of Gold/Promesas de Oro by José Olivarez with translation by David Ruano

That Was Now, This is Then by Vijay Seshadri

it was never going to be okay by jaye simpson

Dark Testament by Crystal Simone Smith

Unshuttered: Poems by Patricia Smith

Falling Back in Love with Being Human: Letters to Lost Souls by Kai Cheng Thom

Femme in Public by Alok Vaid-Menon

Time Is a Mother by Ocean Vuong

Find Her. Keep Her. by Renaada Williams

Rupture Tense by Jenny Xie

From From by Monica Youn

#poetry #genres #booklists

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bluepointcoin · 1 year

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The best Canadian fiction of 2022

Here are the CBC Books picks for the top Canadian fiction of the year! A Minor Chorus is a novel by Billy-Ray Belcourt. (Hamish Hamilton, Jaye Simpson) A Minor Chorus is the debut novel from Griffin Poetry Prize-winning poet and author Billy-Ray Belcourt. A Minor Chorus follows an unnamed narrator who abandons his thesis and goes back to his hometown, where he has a series of intimate…

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newmusicradionetwork · 1 year

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Village People “Happiest Time Of The Year” for your Holiday

Village People is one of the most iconic music groups in the world. Their music has become part of the international songbook. The group’s hits are featured in dozens of major motion pictures, on Broadway, in commercials and in “Village People Party” slot machines. Of course, Y.M.C.A (along with its dance) is played at almost every party, wedding, bar mitzvah, and sporting event in the universe. It began in 1977 when producer Jacques Morali and his partner Henri Belolo, known collectively as Can’t Stop Productions, were recording a new album for their hit group the Ritchie Family, called African Queen and needed background singers. Horace Ott, the arranger/conductor who was working with them, suggested Victor Willis, a singer he was recording who also was performing in the Broadway musical The Wiz. After Willis completed background on the album, Morali approached him about another musical project he and Belolo were planning which turned out to be Village People. “I had a dream that you sang lead vocals on an album I produced, and it went very, very big,” Morali told Willis. “I have four tracks. I can’t pay you much right now but if you agree, I’ll make you a star.” Willis agreed and the rest is history. Those initial four tracks, San Francisco (You’ve Got Me), In Hollywood (Everyone’s a Star), Fire Island, and Village People were recorded by Willis with professional background singers and released as the debut album Village People in 1977. The album quickly climbed to the top of the dance charts and became an international hit. Demand for the “Village People” to appear in concert and on television shows like American Bandstand and Merv Griffin was great. The only problem… “Village People” was Victor Willis! So Morali, Belolo and Willis had to put together an actual group… and quick. Morali and Belolo had already met Felipe Rose who dressed as a Native American. They recruited him. Willis brought in Alex Briley, who he’d previously worked with in a musical. The quickly assembled original lineup appeared with Victor on American Bandstand was Mark Mussler (Construction Worker), David Forrest (Cowboy), Lee Mouton (Leatherman) and Peter Whitehead (nondescript). After that appearance, an ad was placed in a trade paper for ‘permanent’ members which read: Macho Types Wanted for World-Famous Disco Group — Must Dance and Have a Moustache. Randy Jones, Glenn Hughes and David Hodo answered the call. Casablanca Records and Filmworks, the group’s label, got behind their second album Macho Man with full promotion and marketing. Village People became an international phenomenon and quickly followed with their third album, the double-platinum Cruisin (which featured the blockbuster Y.M.C.A.). They embarked on a worldwide tour in 1979 to coincide with the release of their fourth album, Go West. The group has received many honors and awards, including the American Music Award for Favorite Musical Group, a star on the Hollywood Walk of Fame, and was featured on the cover of Rolling Stone. After Willis exited in late 1979, several singers took over as lead singer of the group, including Ray Stephens, Miles Jaye and Raymond Simpson (who served the longest). The group went on to star in the 1980 movie Can’t Stop the Music. Over the years, various renditions of the group have consistently toured the world along with original members Felipe Rose and Alex Briley including Ray Simpson, Jeff Olson (cowboy), Eric Anzalone (Biker), Mark Lee (Construction Worker), Bill Whitefield (Construction Worker), and James Newman (Cowboy). With hits like San Francisco/In Hollywood, Macho Man, Y.M.C.A., In the Navy and Go West, the group has sold more than 100 million records worldwide and continues to break records. In 2004 BMI recognized Y.M.C.A. as exceeding one million airplays. In 2017, Y.M.C.A. made UK’s Official Millionaires Chart – songs that have reached 1 million in combined sales/streams. For the 40th anniversary of the group, Victor Willis is back at the helm. Backed by a live band, Village People continues to thrill concert-goers around the world — as they did back in the day. Village People is: Victor Willis (Cop/Admiral), Angel Morales (Native American), James Kwong (Construction Worker), Chad Freeman (Cowboy), James Lee (G.I.), and James J.J. Lippold (Leatherman). Village People. The greatest disco group in the world. Magical Christmas is their first full length Christmas album. Now available. Additional Artist/Song Information: Artist Name: Village People Song Title: Happiest Time Of The Year Publishing: Ceres Music Group Publishing Affiliation: BMI Publishing Affiliation 2: BMI Album Title: Magical Christmas Record Label: Ceres Music Group Radio Promotion: Loggins Promotion Paul Loggins 310-325-2800 Contact Loggins Promotion Publicity/PR: Loggins Promotion Paul Loggins 310-325-2800 Contact Loggins Promotion Read the full article

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lifeinpoetry · 4 years

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taught to be ghost long before i could wrap my own hands around my throat— spoke to spirits long before i realized i was just as dead as they were.

— jaye simpson, from “haunting (a poem in six parts),” it was never going to be okay

#quote #jaye simpson #poetry #it was never going to be okay #out of my collection #haunting (a poem in six parts)

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geryone · 2 months

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Obsessed with the cover of the new jaye simpson collection coming out at the end of this year!!!!

#I love her poetry & I adore this cover!! already preordered it ❤️

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ndn-bebop · 4 years

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Important article in Briarpatch Mag by jaye simpson talking about what it’s meant for them to have a queer Indigenous cohort on the frontlines and specifically about the instances where being a trans woman has been a point of conflict in these spaces held for land defence. jaye and i saw a lot of dumb shit on the blockades at clark and hastings and the occupation of BC Leg earlier this year in so-called Vancouver and Victoria and their article really resonated with me, between how deeply we feel these issues and calls to action but how difficult it can be to maneuver these spaces safely. art by me! made after feeling really warm but also sad after reading Arielle Twist’s article, Trancestry in CanArt. Arielle is another Indigenous trans woman who’s work is critical of the institutional spaces trans women, trans men and nonbinary folk have to navigate through. Arielle’s article is largely focused on their time in the trans archive going through the belongings our very grand trans auntie, Aiyyana Maracle.

Aiyyana isn’t someone who I had the honour of meeting, but her work in the institution i work at, grunt gallery, is what made the space for me to be there at all. Aiyyana was larger than life and more grand and beautiful than anything; her presence is still deeply felt in our archive at the gallery and I have tremendous gratitude for being able to work somewhere where I didn’t have to be The First.

#Indigenous #trans #2s #two spirit #indigiqueer #art #writing #illustration #trans women are women #jaye simpson #Arielle Twist #Aiyyana Maracle

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imaginemirage · 2 years

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"you call us dangerous

when you took

away all our weapons

except our teeth &

bones

& now you're upset

your flesh got caught

on the sharp edges.

why were you there

in the first place?"

Jaye Simpson

#jaye simpson #quote #poetry #poem #poet #literature #women #dangerous #feral #bite #teeth #feminism

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bookclub4m · 8 months

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Episode 182 - Lyric Poetry

This episode we’re talking about the format of Lyric Poetry! We talk about reading poetry out loud, translation, French Canadian dialects, and more!

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Google Podcasts, or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jam Edwards

Things We Read (or tried to…)

Entre Rive and Shore by Dominique Bernier-Cormier

Let Us Believe in the Beginning of the Cold Season: Selected Poems by Forugh Farrokhzad, translated by Elizabeth T. Gray Jr

Ledger: Poems by Jane Hirshfield

Rapture by Carol Ann Duffy

Goldenrod: Poems by Maggie Smith

Good Bones: Poems by Maggie Smith

Alive At The End Of The World by Saeed Jones

The World Keeps Ending, and the World Goes on by Franny Choi

No Matter the Wreckage by Sarah Kay

White Pine: Poems and Prose Poems by Mary Oliver

Bless the Daughter Raised by a Voice in Her Head by Warsan Shire

Le premier coup de clairon pour réveiller les femmes immorales by Rachel McCrum

The Hurting Kind by Ada Limón

The Arkansas Testament by Derek Walcott

Alive at the End of the World by Saeed Jones

Other Media We Mentioned

The Bronze Horseman by Alexander Pushkin

19 Ways of Looking at Wang Wei: With More Ways by Eliot Weinberger

The Raven by Edgar Allan Poe

“The Fish” by Elizabeth Bishop

When We Were Very Young by A. A Milne

Where the Sidewalk Ends by Shel Silverstein

The Inferno of Dante: A New Verse Translation by Dante Alighieri, translated by Robert Pinsky

All Def Poetry

milk and honey by rupi kaur

One Piece by Eiichiro Oda

Trailer for Netflix show

“Poetry Is Not a Luxury” by Audre Lorde (pdf)

Links, Articles, and Things

Lyric poetry (Wikipedia)

The Writer's Block

The Midnight Library: Episode 001 - Halloween Poetry

Chiac (Wikipedia)

Plasco Building (Wikipedia)

30 Recent Poetry Collections by BIPOC Authors

This booklist features books from BIPOC poets published in the past three years.

Chrome Valley by Mahogany L. Browne

Feast by Ina Cariño

Your Emergency Contact Has Experienced an Emergency by Chen Chen

Girls That Never Die: Poems by Safia Elhillo

Content Warning: Everything by Akwaeke Emezi

I Do Everything I'm Told by Megan Fernandes

Living Nations, Living Words: An Anthology of First Peoples Poetry edited by Joy Harjo

Song of my Softening by Omotara James

Spells, Wishes, and the Talking Dead / Mamaht́wisiwin, Pakos̊yimow, Nikihci-́niskot́ṕn : Poems by Wanda John-Kehewin

Burning Like Her Own Planet by Vandana Khanna

Phantom Pain Wings by Kim Hyesoon, translated by Don Mee Choi

Bianca by Eugenia Leigh

Finna by Nate Marshall

Slam Coalkan Performance Poetry: The Condor and the Eagle Meet edited by Jennifer Murrin

God Themselves by Jae Nichelle

You Are Only Just Beginning: Lessons for the Journey Ahead by Morgan Harper Nichols

I’m Always So Serious by Karisma Price

Homie by Danez Smith

Blood Snow by dg nanouk okpik

Promises of Gold/Promesas de Oro by José Olivarez with translation by David Ruano

That Was Now, This is Then by Vijay Seshadri

it was never going to be okay by jaye simpson

Dark Testament by Crystal Simone Smith

Unshuttered: Poems by Patricia Smith

Falling Back in Love with Being Human: Letters to Lost Souls by Kai Cheng Thom

Femme in Public by Alok Vaid-Menon

Time Is a Mother by Ocean Vuong

Find Her. Keep Her. by Renaada Williams

Rupture Tense by Jenny Xie

From From by Monica Youn

Give us feedback!

Fill out the form to ask for a recommendation or suggest a genre or title for us to read!

Here’s Matthew’s limerick. Write your own!

There once was a book club for masochists Whose members delighted in making lists They all had a blast Co-hosting a podcast That their friendship will always persist

Check out our Tumblr, follow us on Instagram, join our Facebook Group, or send us an email!

Join us again on Tuesday, September 19th it’s time for our One Book One Podcast episode as we all discuss the book Upright Women Wanted by Sarah Gailey!

Then on Tuesday, October 3rd get ready for Halloween because we’ll be talking about the genre of Horror!

#genres #episodes #formats #poetry

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ericbalfourhotspot · 3 years

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Who’s ready 4 a sexy pirate a la Duke Crocker 🗡?! Sneak Peek Screenshots, Videos and ... of Eric Balfour as the smooth, sexy pirate Pistol in the Family Adventure Movie “Timecrafters ~ Treasure of Pirates Cove” on our FB. Plot; A pirate crew led by the dashing Geoffrey Pistol launches a daring mutiny, stealing away in the night. Captain Lynch awakes to find his first mate gone along with his precious treasure map and vows to chase the mutineers to the gates of Hades. As Pistol navigates a stolen vessel through a treacherous storm, a strange “Time Machine” mechanism below deck is activated and the ship disappears in a flash of swirling, blue energy. The bewildered crew awakes on the shore of the modern-day seaside town Pirate’s Cove, where they are mistaken for drunken actors. A group of four kids Josh, Brigitte, Chip and Hedge find the pirate’s treasure map and use high-tech gadgetry to decipher the clues on the ancient map while eluding their parents and some unsavory characters lurking in town. When the town’s wacky Mayor announces a plan to ditch the town’s pirate theme in lieu of a new “Dino-World” moniker the kids really need to find the lost treasure and save their town from the Mayor’s devious plans. Also starring; Denise Richards as Victoria Dare, Malcolm McDowell as Captain Lynch, Patrick Muldoon as Mr. Dare, Theo Bogani Ndyalvane as Adams, Maddie McCormick as Betsy, Lew Temple as Prof Ratliffe, Paul Sampson as Hobbs, Louie Chapman as Mountjoy, Ed Gage as Bucketboy, Bullet Valmont as Scar, Lucas Jaye as Chip, Casey Simpson as Josh Dare, Connor Cain as Hedge and McKinley Blehm as Brigette. » Visit our FB Here!

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yegarts · 3 years

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Mamanaw Pekiskwewina | Mother Tongues: amiskwacîwâskahikan

Meet Artist and Curator, Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ

When you think of resilience, you might not think of languages. That’s not the case for artist and curator Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ. Her current exhibition, Mamanaw Pekiskwewina | Mother Tongues: amiskwacîwâskahikan, celebrates the ancestral languages of Treaty 6 by visibly embedding seven Indigenous languages from this land throughout downtown amiskwacîwâskahikan, physically reclaiming space for their revitalization. As you’re about to discover, each installation in this series speaks to the resilience and survival of Indigenous Peoples, their languages, and the power of visibility. This outdoor exhibition runs April to September 2021, but today it’s our great pleasure to introduce you to the curator sharing the knowledge and power behind these public gifts of art. Meet Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ.

Top: jaye simpson, Auntie Told me Mother used to speak the Language too, 2021, performance, charcoal, vinyl prints. Courtesy of the artist and Latitude 53. Bottom: Wanahae, AHOCAPAM NE WATEZHE WIYANKTE, WICAKTE (PROTECT TWO SPIRIT YOUTH), 2021, dibond panels, acrylic paint, acrylic markers. Courtesy of the artist and Latitude 53.

In your curatorial statement, you talk about the power of visibility and having ancestral languages embedded across the downtown core in amiskwacîwâskahikan. In what ways does having an off-site exhibition highlight that?

ᑭᒥᐊᐧᐣ: Having the ancestral Indigenous languages which come from this territory be visible is so important and powerful. It speaks to the resilience of our people. We are still here. Having these works be offsite and accessible to the general public is an important aspect of the show. It allows for Indigenous languages, and these magical gifts of art, to be seen and celebrated. Bringing art to the people during this time is needed. Seeing them up in the downtown core has been a really moving moment.

You’ve introduced two new terms to the art-world lexicon: [care]rated and [gifts of art]. How did those terms come to be?

ᑭᒥᐊᐧᐣ: These words came to me while thinking through the show. The word [care]rated or [care]rator came from thinking through my role as curator. I felt my role in this show was to care for the artists, their [gifts of art] and the Indigenous languages. I was thinking of my ancestors and how they might have navigated this space. It was important to care and love through this process and to do so humbly in the Nehiyaw way. [Gift of art] came to me while reflecting on how thankful I was to be working with these seven incredible artists. Each “work of art” felt like a beautiful gift that was being shared with earth. Nanâskomitin. I am thankful. Each one of these [gifts of art] are to be honoured and cherished.

Top: Lauren Crazybull, Niitakahkayi, 2021, linen, beet crystal dye, acrylic paint, crushed mint. Courtesy of the artist and Latitude 53. Bottom: Maria-Margaretta, As Long As the Sun Shines, Tan Ki L'Soleyl Briyl, 2021, embroidery and seed beads on Kokum scarf. Courtesy of the artist and Latitude 53.

Can you tell us a bit about the significance of not including English translations with these works?

ᑭᒥᐊᐧᐣ: In each [gift of art], it felt most important to highlight and honour the Indigenous languages without the inclusion of English. Colonization has caused many Indigenous people to have lost their ancestral languages. This show presents the Indigenous languages which come from this land. They need to be celebrated, appreciated, and held high. I keep thinking of the Indigenous folks in amiskwacîwâskahikan who will come across their language—how beautiful and special that moment will be.

In what ways does the revitalization of Indigenous language—specifically the writing system—help reclaim the historical narrative that has been taken away from Indigenous Peoples?

ᑭᒥᐊᐧᐣ: There is so much history and knowledge embedded in each language. Languages tell the story of our people. There have been many times I have asked my Kokum and Nimama to translate my writings for me, and there is always a transfer of knowledge, a teaching that is shared. Indigenous people have been speaking their languages for hundreds of years. Our languages and cultures were ripped from us through colonization and the residential school system, yet today many of our languages survived. I am so thankful to the resilience of our people and the survival of our languages.

What has the experience been like transitioning from the role of artist to the role of [care]rator?

ᑭᒥᐊᐧᐣ: Having an artist practice previously and going into curation was an interesting transition. Although they are very interconnected, I found the role of [care]rator to be much different than that of an artist. I’ve tried my best to navigate this space and position I hold with gentleness. I am so honoured to be able to be part of this exhibition and thankful to Missy LeBlanc for sharing this concept with me. Seeing these [gifts of art] installed and Indigenous languages celebrated has brought me such joy.

Top: Taran Kootenhayoo, D.I.Y, 2019, still from film. Courtesy of the artist and Latitude 53. Bottom: Edna Elias, Expressions of Elation, 2021, sealskin, melton, embroidery threads, beads, printed on dibond. Courtesy of the artist and Latitude 53.

One of the conversations around this exhibition focuses on the transmission of knowledge that is lost when people are taken away from their “normal.” With the world experiencing a global pandemic and temporary loss of their “normals,” what do you hope people will better understand about what happens when that loss spans generations?

ᑭᒥᐊᐧᐣ: Many Indigenous folks have lost their languages, causing the loss of knowledge and Indigenous ways of being. There was a moment in my life when I was going through a difficult time and I was trying to find the words to express how I was feeling. I couldn’t find the words. Then it hit me—I did not have access to the right words, the Nehiyaw words. The beautiful thing about language is it can be revitalized. With the survival of these languages, we now have the ability to learn them. I am so thankful for those who have fought to keep them alive. With the world experiencing a global pandemic, I hope that these [gifts of art] bring people hope. These are very difficult times, and I hope this show will bring people the light they need.

Can you share a little about the cultural importance of the act of giving and how it relates to your work?

ᑭᒥᐊᐧᐣ: The act of giving is a very important aspect of the Indigenous way of knowing and being. This is why I referred to the seven Indigenous art works as [gifts of art]. There is so much shared and gifted to the audience who comes upon it. Many people may not even be aware of what the languages of this land are, and that in itself is a gift. Acknowledging those who have been here hundreds of years and the languages which flow through them is necessary.

What do you hope the public will take away from this [gift of art]?

ᑭᒥᐊᐧᐣ: There is so much knowledge, beauty and power shared in each of these public [gifts of art]. Each work communicates an important message:

ᑌᐸᑯᐦᑊ Gifts of Art Inuk joy, love, and kindness, dancing in the northern lights Singing with the Nehiyaw ancestors, Kisemanitow brings hope Lands of Sikohkotoki, Honour Nitsiipowahsiin Beads radiate Michif love and light, as long as the sun shines Magic found in one another, translated into denesųłiné Loss of language, transcendent Nahkawiwin Ancestral knowledge and tradition, honouring two spirited youth

Nanâskomitin, I am so thankful to Edna Elias, Carol Powder & Cikwes, Lauren Crazybull, Maria-Margaretta, Taran Kootenhayoo, jaye simpson, and Wanahae for each one of your [gifts of art]. I am so thankful to the Indigenous languages for being part of this. I am honoured.

Visit latitude53.org to discover where each artwork is located in downtown Edmonton/amiskwacîwâskahikan and here to read Cheyenne Rain LeGrande’s full curatorial statement.

Artist and Curator, Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ. Photo supplied.

Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ

Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ is a Nehiyaw Isko artist, from Bigstone Cree Nation. She currently resides in Amiskwaciy Waskahikan, also known as Edmonton, Alberta. Cheyenne graduated from Emily Carr University with her BFA in Visual Arts in 2019. Her work often explores history, knowledge, and traditional practices. Through the use of her body and language, she speaks to the past, present, and future. Cheyenne’s work is rooted in the strength to feel, express, and heal. Bringing her ancestors with her, she moves through installation, photography, video, sound, and performance art.

Acknowledgements

Mamanaw Pekiskwewina | Mother Tongues was originally conceived by Missy LeBlanc for TRUCK Contemporary Art in Mohkínstsis/Kootsisáwa/Wincheesh-pah/Calgary and presented in concert with Taskoch pipon kona kah nipa muskoseya, nepin pesim eti pimachihew. The amiskwacîwâskahikan/Beaver Hills House/Edmonton iteration, Mamanaw Pekiskwewina | Mother Tongues: amiskwacîwâskahikan, is curated by Cheyenne Rain LeGrande for Latitude 53 and supported by TRUCK Contemporary Art.

Mamanaw Pekiskwewina: amiskwacîwâskahikan is supported by the Edmonton Arts Council and the City of Edmonton with funds from the Western Diversification Program, Canada Council for the Arts, and ATB Financial.

#yegarts #edmontonarts #IndigenousArt #yegdt #ContemporaryArt

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