Postcolonial Love Poem
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- 13,99 €
Publisher Description
WINNER OF THE 2021 PULITZER PRIZE IN POETRY
Postcolonial Love Poem is a thunderous river of a book. It demands that every body carried in its pages - bodies of language, land, suffering brothers, enemies and lovers - be touched and held. Where the bodies of indigenous, Latinx, black and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dune fields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves. Her poetry questions what kind of future we might create, built from the choices we make now.
PUBLISHERS WEEKLY
In this exquisite, electrifying collection, Diaz (When My Brother Was an Aztec) studies the body through desire and the preservation of Native American lives and cultures, suggesting that to exist as a Native in a world with a history of colonization and genocide is itself a form of protest and celebration. She explores this idea in "The First Water Is the Body," cataloguing the destruction of this invaluable resource by those who seek to protect it: "in the U.S., we are tear-gassing and rubber-bulleting and kenneling natives trying to protect their water from pollution and contamination at Standing Rock." But it's desire, both in its erotic form and as present in the will to assimilate, that drives the book: "Like any desert, I learn myself by what's desired of me / and I am demoned by those desires." "These Hands, If Not Gods" opens with a stunning lyrical address to a lover: "Haven't they moved like rivers / like glory, like light / over the seven days of your body?" The elegiac "Grief Work" closes the book with a meditation on longing: "my melancholy is hoofed./ I, the terrible beautiful// Lampon, a shining devour-horse tethered at the bronze manger of her collarbones." Diaz continues to demonstrate her masterful use of language while reinventing narratives about desire.
