From verse that is as sharp as a knife to vivid and sensual imagery, Diaz uses words like a paint brush. Her work moves from vivid retellings of childhood and family experiences to the more intimate moments in life. Issues of society and culture bump against the personal as Diaz moves effortlessly between the two worlds. And, there’s a sly sense of humor slipped in there, just to keep you on your toes. This is a complete collection of poems for your library.
FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY
Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award
Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pagesbodies of language, land, rivers, suffering brothers, enemies, and loversbe touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, 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 dunefields 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: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hopein it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.
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