New York Poems is dedicated to "The City of New York: embattled, gallant, enduring" by celebrated poet D. H. Melhem, who calls the Upper West Side her "muse." D. H. Melhem's sharp eye looks at neighborhood struggles with blight and urban renewal (chastised as "Negro Removal"). She examines her city from the World Trade Center disaster to the present to the city's future. New York Poems combines her seminal book of poetry, Notes on 94th Street, with her second volume about the neighborhood, Children of the House Afire, whose emblematic title poem describes a tragic fire she witnessed from her second-floor window. "Requiescant 9/11" ("let them rest"), a tribute sequence lamenting the martyrs of the World Trade Center closes Melhem's last collection, Conversation with a Stonemason. The author's preface and poem, "Prospect," survey the urban terrain. Melhem concludes with a lyrical panorama of her city's dynamic changes.
Gwendolyn Brooks is one of the major American poets of this century and the first black woman to win the Pulitzer Prize for poetry (1950). Yet far less critical attention has focused on her work than on that of her peers. In this comprehensive biocritical study, Melhem -- herself a poet and critic -- traces the development of Brooks's poetry over four decades, from such early works as A Street in Bronzeville, Annie Allen, and The Bean Eaters, to the more recent In the Mecca, Riot, and To Disembark. In addition to analyzing the poetic devices used, Melhem examines the biographical, historical, and literary contexts of Brooks's poetry: her upbringing and education, her political involvement in the struggle for civil rights, her efforts on behalf of young black poets, her role as a teacher, and her influence on black letters. Among the many sources examined are such revealing documents as Brooks's correspondence with her editor of twenty years and with other writers and critics. From Melhem's illuminating study emerges a picture of the poet as prophet. Brooks's work, she shows, is consciously charged with the quest for emancipation and leadership, for black unity and pride. At the same time, Brooks is seen as one of the preeminent American poets of this century, influencing both African American letters and American literature generally. This important book is an indispensable guide to the work of a consummate poet.
D.H. Melhem's clear introductions and frank interviews provide insight into the contemporary social and political consciousness of six acclaimed poets: Amiri Baraka, Gwendolyn Brooks, Jayne Cortez, Haki R. Madhubuti, Dudley Randall, and Sonia Sanchez. Since the 1960s, the poet hero has characterized a significant segment of Black American poetry. The six poets interviewed here have participated in and shaped the vanguard of this movement. Their poetry reflects the critical alternatives of African American life—separatism and integration, feminism and sexual identity, religion and spirituality, humanism and Marxism, nationalism and internationalism. They unite in their commitment to Black solidarity and advancement.
These two novels complete D. H. Melhem’s trilogy, Patrimonies, that began with Blight. Stigma, a dark political satire, and The Cave, a post-nuclear fantasy, confront the crucial issue facing this generation: what kind of world will be our legacy? Unsettling and sometimes terrifying, both novels center on ideological paradoxes created by a military-industrial government pitted against American individualist politics. Stigma offers a vision of civil unrest, unemployment, and a chronic state of war. Books are recycled as toilet paper. Families are conscripted by lottery for the honor of war-work. Selected adults serve in a bizarre bomb factory. Youths are inducted into military service, children relegated to orphanages. Scathing yet awash in dark humor, Stigma relates one family’s struggle to survive in and escape a system of perversity and horror. The Cave describes a motley group of people who flee to an abandoned cave, seeking shelter from a nuclear attack. Inside, viciousness, cowardice, and heroic gestures ironically transform their lives into a war. Tensions between family relations and newly formed alliances, communal needs and individual desires, religious beliefs and stark reality move toward a cataclysmic finale, in which one man retrieves a sign of faith. Sparsely poetic, simple in tone but rich in allusion, Melhem’s writing in The Cave, as in Stigma and in Blight, beckons readers to lift themselves out of their own lived reality, to look at the strange and threatening clouds on the not-so-distant horizon.
Gwendolyn Brooks is one of the major American poets of this century and the first black woman to win the Pulitzer Prize for poetry (1950). Yet far less critical attention has focused on her work than on that of her peers. In this comprehensive biocritical study, Melhem -- herself a poet and critic -- traces the development of Brooks's poetry over four decades, from such early works as A Street in Bronzeville, Annie Allen, and The Bean Eaters, to the more recent In the Mecca, Riot, and To Disembark. In addition to analyzing the poetic devices used, Melhem examines the biographical, historical, and literary contexts of Brooks's poetry: her upbringing and education, her political involvement in the struggle for civil rights, her efforts on behalf of young black poets, her role as a teacher, and her influence on black letters. Among the many sources examined are such revealing documents as Brooks's correspondence with her editor of twenty years and with other writers and critics. From Melhem's illuminating study emerges a picture of the poet as prophet. Brooks's work, she shows, is consciously charged with the quest for emancipation and leadership, for black unity and pride. At the same time, Brooks is seen as one of the preeminent American poets of this century, influencing both African American letters and American literature generally. This important book is an indispensable guide to the work of a consummate poet.
D.H. Melhem's clear introductions and frank interviews provide insight into the contemporary social and political consciousness of six acclaimed poets: Amiri Baraka, Gwendolyn Brooks, Jayne Cortez, Haki R. Madhubuti, Dudley Randall, and Sonia Sanchez. Since the 1960s, the poet hero has characterized a significant segment of Black American poetry. The six poets interviewed here have participated in and shaped the vanguard of this movement. Their poetry reflects the critical alternatives of African American life—separatism and integration, feminism and sexual identity, religion and spirituality, humanism and Marxism, nationalism and internationalism. They unite in their commitment to Black solidarity and advancement.
New York Poems is dedicated to "The City of New York: embattled, gallant, enduring" by celebrated poet D. H. Melhem, who calls the Upper West Side her "muse." D. H. Melhem's sharp eye looks at neighborhood struggles with blight and urban renewal (chastised as "Negro Removal"). She examines her city from the World Trade Center disaster to the present to the city's future. New York Poems combines her seminal book of poetry, Notes on 94th Street, with her second volume about the neighborhood, Children of the House Afire, whose emblematic title poem describes a tragic fire she witnessed from her second-floor window. "Requiescant 9/11" ("let them rest"), a tribute sequence lamenting the martyrs of the World Trade Center closes Melhem's last collection, Conversation with a Stonemason. The author's preface and poem, "Prospect," survey the urban terrain. Melhem concludes with a lyrical panorama of her city's dynamic changes.
Probing, wide-ranging, brimming with passion and outrage, Melhem’s eighth collection of poems grips the reader with accounts of individual triumphs and the ongoing catastrophic conflicts of our world. The author draws on her years as a painter and sculptor to bring a distinct visual and tactile quality to her poetry. In this volume, Melhem proceeds from robust individual portraits through observable terrains to traumatic visions of war. "Certain Personae" ranges from black writers to Abraham Lincoln, from a portrait of the suffragist Elizabeth Cady Stanton to the poetry of John Updike, and finishes with paintings of Hannibal crossing the Alps. In "Mostly Political," the poems traverse the local and the universal: melting polar ice caps, capitalism, a painting by Max Ernst interpreted in antithetical ways, and a poem surveying Manhattan’s Upper West Side in the context of international events. "Wars," the third and last section, gives intimate and searing glimpses of the Trojan War, World War I, the Gulf War, the Iraq war, and the conflict over Palestine.
These two novels complete D. H. Melhem’s trilogy, Patrimonies, that began with Blight. Stigma, a dark political satire, and The Cave, a post-nuclear fantasy, confront the crucial issue facing this generation: what kind of world will be our legacy? Unsettling and sometimes terrifying, both novels center on ideological paradoxes created by a military-industrial government pitted against American individualist politics. Stigma offers a vision of civil unrest, unemployment, and a chronic state of war. Books are recycled as toilet paper. Families are conscripted by lottery for the honor of war-work. Selected adults serve in a bizarre bomb factory. Youths are inducted into military service, children relegated to orphanages. Scathing yet awash in dark humor, Stigma relates one family’s struggle to survive in and escape a system of perversity and horror. The Cave describes a motley group of people who flee to an abandoned cave, seeking shelter from a nuclear attack. Inside, viciousness, cowardice, and heroic gestures ironically transform their lives into a war. Tensions between family relations and newly formed alliances, communal needs and individual desires, religious beliefs and stark reality move toward a cataclysmic finale, in which one man retrieves a sign of faith. Sparsely poetic, simple in tone but rich in allusion, Melhem’s writing in The Cave, as in Stigma and in Blight, beckons readers to lift themselves out of their own lived reality, to look at the strange and threatening clouds on the not-so-distant horizon.
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