Collected Poems by Adam Day
By Adam Day
Note on poems: Multiculturalism, social justice, ways of seeing, the past as it is mirrored in the present, immigration and the native, as well as security and terrorism, spirituality, ruins, lived environments and the degradation of the natural world. The sequence is composed of various narratives, creating a productive disjunction, while particular issues and ideas thread length of the collection, as does as the sequence’s unity of tone, atmosphere and sensibility, allowing unobstructed access to the sequence’s global sense.
Not simply glances, tongue slips, implicit evaluations,
stances, “misunderstandings” are the existence evidence
which should be unnecessary. Michael Jordan didn’t Harvey
Gantt against Jesse Helms: ‘Republicans buy sneakers too.’
Poets are poverty “fortunate” enough to be free from such
pressing pecuniary concerns (i.e., largely ignored by and have
on larger issues). Free fortunate. One of the greatest impolite
Rights is the expansion of the penal state, a means
of managing the very floor, of those who bear penury
and geography, reverberates back out from broader society.
There’s denying timeliness of Brown and the Department
of report, composed of the disembodied.
Stream collage, working registers and dialects resonate
with, against, one another. Possible meaningful skill that
allows it to begin—like thought—one doesn’t plan next
sentence out mouth, per se, simply occurs, skill dictates.
“Performers material things in thrownness down together.”
to indicate between reason and the demotic ensconced
in bedrock. Specious ‘…sugar and country-ass shit in the
middle of supposed to say what about the rock fights and
There’s the sweet object of everybody’s third thoughts.”
Keeping focus of a tavern in early-mid New York City slaves,
indentured and poor whites, free blacks, and soldiers stolen
goods traded a foundation for insurrection citizens, regardless
of the body (of movement) within particular administered
world, and equally improved, or lack of dexterity
of performativity of language, lack gestural freedom.
And the enactment is in discomfort. Such liberty form might
in gender place among the fields of help. Identify, perhaps
much here, the not passive, less complex, ever cycle
Bound hand and foot retreat and hit out blindly the day
of magicians and fetishes. Then, perhaps, when your back
is to wall, you will let loose at last that new violence which
is raised up in you by old, oft-repeated crimes. But, as they
say, that’s another story: history of his mankind. The time
is drawing near, sure, when we will join the ranks of those
who make it.
“Happiness is what we were born to serve,” Wright
acknowledges that “the way there is far. Too far…
a commitment labor.” Precisely point a desire for personal
sense of purpose, some sense of more than what might
otherwise only suppose, is what ever-pulsing evolving
(or stagnant) lead one person to become jockey other activist.
“Just what relation of his culture says about that culture
is a very pretty question; all craft a how – one do ancestry,
opportunity, lack, Lion, Talking Pictures, El Farolito, A
Wedding, Big Box Store, Spring, Midnights, Fire.
These Talking Pictures end (often end) with long requests
for one to understand the source of our shouting. Fanon
intricacies in such an approach to “Today believe in the
possibility of love; that is why endeavor to trace its
imperfections, its perversions.”
Adam Day is the author of Left-Handed Wolf (LSU Press, 2020), and of Model of a City in Civil War (Sarabande Books), and the recipient of a Poetry Society of America Chapbook Fellowship for Badger, Apocrypha, and of a PEN award.
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