BookFrontier
Don't Call US Dead by Danez Smith

Book

Don't Call US Dead

Poems

Danez Smith

Graywolf · Print & ebook · September 5, 2017

Reading lane: African American Poetry

Finalist for the National Book Award for Poetry Winner of the Forward Prize for Best Collection “[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy.”— The New Yorker Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power.

At a Glance

Why This Clicks

Lyric Under Pressure

These poems hold grief, desire, mortality, and sudden joy in the same charged space.

Come here for

  • Poetry confronting racial violence and its afterlives
  • A voice moving between rebuke, praise, and tenderness

Expect

  • Urgent lyrics with performative force
  • A collection that makes room for grief and joy

Book Details

Authors
Danez Smith
Publisher
Graywolf
Published
September 5, 2017
Format
Print & ebook
Theme
African American Poetry · Political & Protest Poetry
Reading lane
African American Poetry

Affinity

Publisher Categories

  • American Poetry

  • African American Poetry

  • LGBTQ+ Poetry

About This Book

Finalist for the National Book Award for Poetry Winner of the Forward Prize for Best Collection “[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy.”— The New Yorker Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, viole...

Read full description

Finalist for the National Book Award for Poetry Winner of the Forward Prize for Best Collection “[Smith's] poems are enriched to the point of volatility, but they pay out, often, in sudden joy.”— The New Yorker Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality—the dangers experienced in skin and body and blood—and a diagnosis of HIV positive. “Some of us are killed / in pieces,” Smith writes, “some of us all at once.” Don’t Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America—“Dear White America”—where every day is too often a funeral and not often enough a miracle.

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