Tag Archives: poetry

Chinese Literature at the Literatures and Languages Library 

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The UIUC Library houses a rich collection of Chinese literature in the vernacular and in English translation. This spring we are featuring a pop-up display of titles curated by Dr. Bing Wang, our new Chinese Studies Librarian, which is located at the entrance to the Reading Room (room 200) in the Main Library. Click here for more information and resources about Chinese Studies at the UIUC Library.

To pique your interest in these books, Dr. Wang offers a summary of one of her favorites: Confucian Analects on Skin (人皮论语 /Ren pi lun yu) by Wenbiao Ye.

The term “canon” originates from the Greek word denoting principles, norms, standards, and measures. For ordinary individuals, canons represent the unwavering tenets that demand rigorous adherence as the embodiment of truth. But, what about in the event that canons are deliberately distorted and manipulated by authorities for their own vested interests? What might be the costs if individuals opt to advocate the truth? 

The book Confucian Analects on Skin​ 《人皮论语》is a captivating historical mystery fiction that delves into the struggles and conflicts faced by ordinary individuals in their quest to unveil the authentic canon, which stands in opposition to the manipulated version imposed by imperial authorities. Authored by Wenbiao Ye 冶文彪, a renowned contemporary Chinese writer specializing in fictional historical mysteries, this narrative revolves around the ​Analects (the Sayings of Confucius), which have long been revered as the cornerstone of Confucianism. Set against the historical backdrop of ancient China during the Han dynasty (202 B.C.–220 A.D.), this book unveils a mysterious manuscript inscribed on human skin that appears in the nation’s capital. The text displays variations from the officially endorsed and widely accepted version of the Analects; however, these words engraved on human skin adhere to the authentic original but are now known solely by one person. How will individuals respond to these divergent interpretations of the canon? Will they be willing to unearth the truth regardless of potential repercussions, even at the cost of sacrificing their own lives and those around them? Alternatively, might people choose self-silencing in exchange for personal and national interests? Amidst ideals, realities, loyalties, and tranquility, which aspirations will prevail among individuals?

–Dr. Bing Wang, Chinese Studies Librarian

Other works by Wenbiao Ye include The Pupil of Trust and the historical suspense series Qingming Shanghe Tu Mima (The Code of “Along the River During the Qingming Festival”), which was inspired by a famous handscroll painting attributed to Song dynasty artist Zhang Zeduan.  

More Chinese-language fiction and poetry recommendations from Dr. Wang are available to check out now! English translations of some titles are also available.

Shi jian yi min = Time immigrant 时间移民 
Cixin Liu (1969- ). Liu is probably the Chinese science fiction writer most familiar to Western readers due to American SFF author Ken Liu’s translations of his work. Best known for The Three-Body Problem; other works recently translated into English include Ball Lightning and Supernova Era. Liu is the winner of the 2015 Hugo Award, the 2017 Locus Award, and nine-time winner of the Galaxy Award.  

Long yu di xia tie = 龙与地下铁 
Boyong Ma (1980- ). Ma is a prolific novelist, columnist, and blogger; winner of the 2010 People’s Literature Prize. His short story “The City of Silence” was translated into English by American SFF author Ken Liu.  

Ma, qin yi xia = 媽, 親一下 
Jiubadao (pseudonym of Giddens Ko, 1978- ). Taiwanese novelist, screenwriter, and director. Best known for adapting and directing You Are the Apple of My Eye (2011) (based on his novel 那些年, 我們一起追的女孩) and most recently Miss Shampoo (2023) (based on his novel 精準的失控).  

Tian ji = 天机 
Series 1: PL2833.7.A386 T53 
Series 2: PL2833.7.A386 T532 
Jun Cai (1978- ). Cai is a popular writer of horror/suspense novels; winner of the Sina Literary Award. Other notable works include “The Child’s Past Life” (生死河, Sheng Si He) and “19th Floor of Hell” (地狱的第19层, Di Yu De Di Shi Jiu Ceng). Tian Ji was adapted as a movie in 2016.  

Shanhe shengyan = 山河盛宴  
Tian Xia Gui Yuan (pseudonym). Her novels Empress Fu Yao and Huang Quan have been adapted into television dramas (The Legend of Fu Yao and The Rise of Phoenixes). 

Nan da = 男妲 
Yingshu Cheng (1968- ). Other works in our collection: Wo Zeng Shi Liu Wang Xue Sheng and Nü Liu Zhi Bei.  

Si wang zhi shu = 死亡之书 
Ximin Li (1966- ). A popular mystery/suspense writer. We also have the Tang Town trilogy (Book 1, Book 2, Book 3).  

Xiong di = Brothers 兄弟 
English translation here.
Hua Yu (1960- ). A former dentist, Yu turned to a literary career in the 1980s and is today one of China’s most important writers of avant-garde fiction. His works have received many domestic and international awards, including the James Joyce Award (2002). Brothers won the Prix Courrier International, the Yasnaya Polyana Literary Award, and was shortlisted for the Man Asian Literary Prize. Several of Yu’s works have been adapted for television and film, most recently Chronicles of a Blood Merchant (as a Korean television drama) and Mistakes by the River (as a film titled Only the River Knows) in 2023.  

Qi men zhi Fengming Shan = 旗门之凤鸣山 
Tianwang90 (pseudonym)

Nie zi = 孽子  (vol. 3 of Bai Xianyong zuo pin ji) 
Hsien-yung Pai (also written as Bai Xianyong, 1937- ). Pai is an influential modernist writer; during his student days at National Taiwan University, Pai co-founded the literary journal Xiandai Wenshue (Modern Literature). He earned an M.A. from the University of Iowa and is a professor emeritus of Chinese literature at UC Santa Barbara. Nie zi is a novel included in a multivolume collection of his works. 

Hong fu ye ben = 红拂夜奔  
Xiaobo Wang (1952-1997). Wang’s career was brief, but his writing—especially his essays—experienced a surge in popularity and influence after his death. Much of his fiction deals with Chinese history, including his best-known novel, Golden Age. We have an extensive collection of his writings!  

Wa = 蛙 
English translation here.
Yan Mo (1955- ). Mo is the winner of the 2012 Nobel Prize for Literature and numerous other international and domestic awards. Best known in the West for Red Sorghum. We have many of his works, both in Chinese and in English translation. 

Mi yu zhe = 密語者 
English translation here.
Geling Yan (1958- ). A novelist and screenwriter who writes in both Chinese and English. We have many of her works written in Chinese, English, and several in English translation. Several of her works have been adapted as films. 

Qing hu = 青狐 
Meng Wang (1934- ). Novelist and essayist; Wang served as China’s Minister of Culture 1986-1989. He was awarded the Mao Dun Literature Prize in 2015 for The Scenery Here, a previously unpublished novel written in the 1970s during his time as an imprisoned laborer in Xinjiang.  

Bian xing = 变形 
Duo Na (1977- ). Na is a prolific writer of supernatural/science fiction/suspense novels. A Chinese television adaptation of his novel 十九年间谋杀小叙 (No One Innocent in 19 Years Crime) has been announced but not yet scheduled.  

Di Renjie zhi tong tian an = 狄仁杰之通天案 
Anna Fangfang (pseudonym). A new take on the popular fictional/historical figure Di Renjie (Judge Dee), a Tang dynasty magistrate who investigates and solves cases. 

Xiang si shu xia = 相思树下 
Guanzhong Yu (1928-2017). Yu was a Taiwanese poet who graduated from the Iowa Writers’ Workshop and was part of the modernist circle that included Pai Hsien-yung. Best known for his poem “Nostalgia,” he was a prolific poet and essayist, taught Chinese and English literatures, spoke several Western languages, and published Chinese translations of Western literary works.  

Lai ri fang chang : shi hua ji = 來日方長 : 詩畫集  
Xun Jiang (1947- ). Jiang is a well-known Taiwanese artist, art historian, public intellectual, and writer.  

Feng guo wan cheng = 风过晚城 
Wancheng Geng

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UIUC Poetry Spotlight: Weston Morrow

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This week, UIUC MFA student Weston Morrow reads “She Decides She Prefers Longing Over Satisfaction” by Maya Jewell Zeller and “I Consider My Grandfather Going Home” by Weston Morrow. Watch his readings on our Instagram here and here, and read his reflections below:

Both the poems I’ve chosen to read here consider the landscape—of both nature and the self. I was sitting at my desk recording these this morning with the aid of the increasing natural light and, for the first time in what feels like forever, I worried whether the birds outside might sing loud enough to interrupt my audio.

Like the speakers in both these poems, I’ve felt a sense of dread, of loss, and loneliness, these past twelve months. I’ve sat inside my house with nothing to do at times but look out the window by my desk. I watched the trees shed their leaves and my world shrink with the winter light as I slipped further into myself and further away from others.

I haven’t found myself able to read for fun in months, but the dogwood across the street is blushing pink, the light is finding its way back into my room through the curtains, and I’m reading again. Maya Jewell Zeller’s poem reminds me that the world is always there, awaiting my return, and no matter how calloused I become, the grass will come back each spring, and give my feet a soft place to land.

Poetry, like nature, can recede from my consciousness at times. It can feel frivolous in the face of loss — as people I love, and the world we call home, are dying. Eighty years ago, W.H. Auden wrote a line quoted still today, by lovers and haters of poetry alike, “[P]oetry makes nothing happen…” But, consider, if you will, the rest of the section:

For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.

As I sit here at this desk, hardly having moved this past year, I’m thinking—finally—like Zeller’s speaker, who “wanted to know / how far the wind went / after it rounded the tool- / shed, the river bend…”

Who knows what lies ahead. I’m nervous, but excited. I think I’ll go outside. I might even take my shoes off.

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UIUC Poetry Spotlight: Stuart Albert

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Our celebration of National Poetry Month continues on this penultimate Thursday of April. Today, we are proud to feature LitLang’s own Stuart Albert reading Reed Whittermore’s “The Tarantula.” Watch Albert read his selection here and read his reflections below:

“The Tarantula”, by Reed Whittemore, is a long-standing favorite of mine. As a dramatic monologue, it lends itself well to reading aloud. And… I don’t want to ruin the surprise with too much preamble… but I think many readers / listeners will find the narrator something of a kindred spirit.

After some cursory research, I’m inclined to think this poem inspired by the essay “The Spider and the Wasp”, by the much-cited authority Alexander Petrunkevitch, published in Scientific American magazine in August 1952. It’s always interesting to me, to see how often (and how far) the poetic imagination is launched by the tangible, the imminent, the seemingly dry and merely factual.

Incidentally, I held a tarantula once. Decent fella, name of Cecil.

P.S. I don’t know if lagniappes are allowed, but here’s another poem, by Howard Nemerov, that I think pairs well with “The Tarantula”. Like William, Oliver is someone I think many of us can identify with.

http://poemhunter.blogspot.com/2007/08/make-big-money-at-home-write-poems-in.html

 

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UIUC Poetry Spotlight: Christel Thompson

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Our celebration of national poetry month continues with Christel Tompson reading her poem, “Aubade.” Christel Thompson is a writer and student currently pursuing a Bachelor of Liberal Arts at the University of Illinois Urbana-Champaign. Watch her reading on our Instagram account and read her reflections below:

When I wrote “Aubade”, I set out to put something on the page that was purely honest– I think that poets have the tendency to embellish, to make “more beautiful”, and lose transparency along the way. This is why I chose to meditate on the clarity of sleep, the in-between spaces that come before and after waking— there is no room in those moments for even a whisper of dishonesty. How can there be? There’s no pretending when you’re asleep.

In traditional aubades, the dawn brings with it a physical parting with a lover. But in the realm my poet inhabits, it’s not leaving that the speaker fears, but rather, the dishonesty that morning will bring– the cowardice. The quiet comfort of night, of slumber, is what brings these two lovers an authentic existence.

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UIUC Poetry Spotlight: Professor Ángel Garcia

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Dr. Ángel Garcia is Assistant Professor in the English Department at the University of Illinois at Urbana-Champaign. He earned a PhD from the University of Nebraska, Lincoln and an M.F.A. from the University of California-Riverside.

He is the author of Teeth Never Sleep, winner of a 2018 CantoMundo Poetry Prize published by the University of Arkansas Press, winner of a 2019 American Book Award, finalist for a 2019 PEN America Open Book Award, and finalist for a 2020 Kate Tufts Discovery Award. Professor Garcia Ángel is also the cofounder of the non-profit organization, Gente Organizada, which educates, empowers, and engages communities through grassroots organizing.

Watch Professor Garcia read his poem, “Dina Olimpico” on our Instagram here. He reflects on how Natasha Trethewey and Geffrey Davis inspired his poem below:

What I love and what I want to honor in Natasha Trethewey’s poem “The Southern Crescent” from her book Native Guard and in Geffrey Davis’ poem “King Country Metro” from his book, is their recognition of ancestry and how one arrives in a particular place. Thinking about my own family, I wanted to document the seemingly innate need for one to return home and also point to some of the constraints and challenges one might face in doing so. To further complicate the idea of returning, I wanted to acknowledge the long familial history of moving from place to place across several generations.

 

But another important way to think about ancestry is poetic ancestry. I wanted to honor my own lineage of poetic ancestry, particularly Black poets like Natasha Tretheway and Geffrey Davis, who by writing about their own migratory experiences have inspired and influenced me to write about the migrations of my own family. National Poetry Month, with the availability of so many reading, events, and poems, is a wonderful time for students and poets to discover their own poetic ancestry, digging through books, journals, and archives to discover poems that speak to their experiences. Going one step further, we can continue that lineage by then writing imitation poems based on the original poems of our poetic ancestors.

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UIUC Poetry Spotlight: Isaac Willis

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For today’s celebration of National Poetry Month, Isaac Willis, a student in UIUC’s Creative Writing MFA program, reads Jericho Brown’s “Say Thank You Say I’m Sorry.”

Watch Willis’ reading on our Instagram and read his reflections below:

To me, this is a perfect poem. Maybe that’s because I may or may not have taken a field trip to a slaughterhouse. (My alma mater, Monmouth College, nearly touched one of the largest slaughterhouses in the Midwest.) Maybe that’s because I want another gimlet, another good book. It’s also the perfect poem for America right now. Written during a time of racial reckoning, of an international pandemic, of quarantine, the poem subtly navigates the politics of place and being in it. “I have PTSD / About the Lord,” says Brown’s speaker. But then, “God save the people who work / In grocery stores.” Audre Lorde famously said, “Poetry is not a luxury.” She also said, in the same essay, “it is the skeleton architecture of our lives.”

I can’t help but feel, when I read this Jericho Brown poem, that something new and necessary is being architected. I naively thought, a year ago, when the University and the world were effectively locked down, that staying shut up inside would make me a better person. If anything, it has exacerbated my fears and anxieties and biases even more. I texted something along those lines to a friend awhile back, and he responded, “Or you are a better person, and you don’t like what the new light has shown you.” Maybe so. Maybe grief, when it’s so thick you can touch it, is a balm. Maybe I’d rather be able to sit and talk with my friend, while we sip lavender gin. Maybe it’s a privilege to say so. Thank you. I’m sorry.

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UIUC Poetry Spotlight: Christopher Kempf

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Christopher Kempf is Visiting Assistant Professor in the Department of English, where he teaches in the MFA Program. He is the author of the poetry collections What Though the Field Be Lost (LSU, 2021) and Late in the Empire of Men (Four Way, 2017).

His scholarly book, Writing Craft: The Workshop in American Culture, is forthcoming from Johns Hopkins University Press. Recipient of a Pushcart Prize, National Endowment for the Arts Fellowship, and Wallace Stegner Fellowship from Stanford University, his poetry and creative nonfiction have appeared in Best American Poetry (2020), Boston Review, Georgia Review, Gettysburg Review, Kenyon Review, New England Review, The New Republic, and PEN America, among others.

Professor Kempf offers his reflections on a recently published poem by Eavan Boland below:

Eavan Boland’s poem “The Break-Up of a Library in an Anglo-Irish House in Wexford: 1964” offers a haunting meditation on the vulnerabilities and violences implicit in western empire.

“[T]he end of empire is and will always be / not sedition nor the whisper of conspiracy,” Boland writes, “but that // slipper chair in the hallway / that has lost the name / no one will call it by again.”

Boland is writing here about the 17th and 18th century mansions from which a Protestant Anglo-Irish aristocracy ruled over a predominantly Catholic population.  But she is also—and perhaps more importantly—diagnosing how power continues to encode itself in and through language.  Echoing Ezra Pound’s maxim that “if a nation’s literature declines, the nation atrophies and decays,” her words testify beautifully to the importance of an educated citizenry, one able to command language for its own uses rather than be commanded by it.  Boland neither celebrates nor mourns the passing of this aristocracy, but I detect in her tone a note of wistfulness, I think, for a richer, more accurate language—something wondrous has been lost, Boland suggests, even as something powerfully democratic has been gained.

I admire this ambivalence, and I am curious about its implications in the wake of an attack on the U.S. Capitol which, because of her untimely death, Boland never witnessed.

In a culture obsessed with “STEM” education and so linguistically impoverished, therefore, that we cannot distinguish between real and fake news, Boland reminds us that facility with language is the single most important—and contested—political instrument.  And poetry itself, Boland suggests, remains vital to both social justice and democratic belonging.

Watch Professor Kempf read Eavan Boland’s “The Break-Up of a Library in an Anglo-Irish House in Wexford:1964″ and a poem of his own, “National Anthem” on our Instagram!

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Happy Poetry Month!

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Here is a roundup of some of the excellent new poetry and books about poets at the Literatures and Languages Library. To keep up on our new poetry, be sure to follow us on Instagram, where we post about all our latest books!

The Power of Adrienne Rich: A Biography by Hilary Holladay

This is the latest biography of the queer feminist icon and National Book award winning poet, Adrienne Rich. The book pays particular attention to Rich’s early life and the role of her parents and events on her development. Through Rich’s and other family members’ correspondence and interviews with people close to the poet, Holladay brings to life the writer whose poetry was at the forefront of American literature for decades.

Foxlogic Fireweed by Jennifer K. Sweeney

Winner of the Backwaters Prize in Poetry, this collection highlights the dynamic nature of place and space and the impacts our relationships and environments have on us- “a lyrical sequence of five physical and emotional terrains—floodplain, coast, desert, suburbia, and mesa—braiding themes of nature, domesticity, isolation, and human relationships.” Sweeney explores these themes from a distinctively feminine perspective. Her poetry and perspective is rooted in the physical rhythms of the natural world.

The Age of Phillis by Honorée Fanonne Jeffers

This book is about the life and time of Phillis Wheatley, a Black poet, who was born in West Africa and later stolen and brought to Boston as an enslaved child. In 1773 she published a book of poetry and became a prominent literary figure. Jeffers employs her own poetry, based on rigorous archival research, to recontextualize Phillis’s life, to see beyond Phillis’s fame as a “literary or racial symbol” and find the person she was. Her poetry explores Wheatley’s childhood in Gambia, her life with her white owners, her experiences as a poet who achieved contemporary fame, and her eventual emancipation and life with her husband.

 The Swan of the Well by Titia Brongersma, Eric Miller

This is the first English translation of the works of Titia Brongersma, a 17th century Frisian poet.  Contemporary humanists hailed Bongersma as “Sappho reborn.”  Brongersma’s poetry is incredibly versatile in its scope and mixes genres and disciplines, such as mythology, epic poetry, history, and art. Key themes are: the poet’s love for Elisabeth Joly, her excavation of an ancient monument, her family, patrons, and friends, and the life of women. Eric Miller’s translation includes an introduction that provides context for Brongersma life and time and attempts to uncover some of her aspirations.

The Selected Works of Audre Lorde Edited by Roxane Gay

This book offers a selection of poetry and prose by Audre Lorde, with an introduction by Roxane Gay. Self-described as a “black, lesbian, mother, warrior, poet,” Lorde’s work centers the experiences of Black and queer women. This collection makes clear why Lorde has remained an influential and crucial figure in the field of “intersectional feminism, queer theory, and critical race studies.” This is an essential reader for those new to Lorde’s work and an excellent companion for those who are more familiar.

Owed by Joshua Bennett

“You always or almost

always only the one

in the room

Maybe two

Three is a crowd

Three is a gang

Three is a company

of thieves        Three is

wow there’s so many of you”

Thus begins the poem Token Sings the Blues, one of the first poems in Joshua Bennett’s new book, Owed. The works in this book address the “aesthetics of repair.” They challenge the notion of insignificant aspects of daily life, discussing objects, people and spaces that are often overlooked. With Poems like Ode to the Durag and Ode to the Plastic on Your Grandmother’s Couch, Bennett not only calls attention to these objects, but he also centers the lived experiences of being Black in America.

Whatever Happened to Black Boys by James Jabar

This collection of poems from James Jabar is an exploration of Black maleness. Through his poems, which vary in form and genre, black boys tell their own stories. The black boys in this work are both fictional and real, and Jabar uses this play on reality, to tackle the archetype of Black maleness, both by breaking traditional forms of poetry and by telling stories from a range of perspectives. This is an exploration of identity, storytelling, and poetry, it also challenges the limited presentations of Black maleness in media.

 

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UIUC Poetry Spotlight: Professor Corey Van Landingham

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Corey Van Landingham is an Assistant Professor in the Department of English. A nationally acclaimed poet, she is the author of Love Letter to Who Owns the Heavens, forthcoming from Tupelo Press, and Antidote, winner of the 2012 The Ohio State University Press/The Journal Award in Poetry. To learn more about Professor Van Landingham, please visit her website https://www.coreyvanlandingham.com.

Watch Professor Corey Van Landingham read selections from Brigit Pegeen Kelly on our Instagram. She offers her reflections below:

For National Poetry Month, I wanted to pick two poems that are connected to the C-U community. Brigit Pegeen Kelly taught here at UIUC for many years, and is still, it seems, part of the soul of this program, this place. Brigit and her husband, the poet Mike Madonick (mentioned in the poem’s dedication tag), have shaped hundreds of poets here in the prairie. I never met Brigit, but Song was the first book I read during my MFA, and her work has left a deep mark on me—as it has on so many poets of my generation. I can’t go to Allerton without seeing her poems almost materialize amidst the statues. I’ll often wonder, driving through the cornfields, if the rare “hill” I see is one from her poems. Brigit’s poems do that—I might say all great poems do—they make you see the world differently. They change the relationship between language and landscape. They heighten it, and they trouble it.

“Near the Race Track” is from her first book, To the Place of Trumpets. This poem is wildly different from her later work, from the long poems that cascade and build and weave and repeat to create, across many pages, their own mythic worlds. I’ve heard those worlds aren’t so distant, though, that what may seem mythic or surreal or magical is often grounded in something from her very own surroundings, her life. “Near the Race Track” isn’t set here, but, because of Brigit and Mike, I can’t help but associate it with Illinois. There are few poems about joy that I care to return to. Here, it’s the way joy can be a spectacle to behold, but also something that can rise away from us—that’s what makes me come back to this poem again and again. That, and picturing Mike cursing with that umbrella in hand.

It doesn’t feel right to spend too much time here discussing my own work, when in Brigit’s realm. “O-Matoes” revolves around the desire to catch something of joy, though, and originated from getting to know one of our truly joyous neighbors here in Champaign. This poem is, as is probably obvious, for Caleb, who is six.

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Resource Spotlight: African American Poetry

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This week, we are spotlighting one of our databases, which highlights African Americans’ contributions to American literature: African American Poetry! 

This comprehensive collection allows you to explore the extraordinary early history of African American poetry. This database includes over 3,000 poems from the 18th and 19th centuries, capturing a wide array of subjects and experiences, and relating them as broadsides, ballads, sonnets, Romantic odes, and historical epics. 

And the lives of the poets whose work is featured in African American Poetry were often as riveting as their work. Explore the poetry of Phillis Wheatley, who was abducted from West Africa at a young age, sold as a slave in Boston, and went on to become “one of the major American poets of the Colonial period.” The piercing intelligence, mastery of allusion, and stirring pathos evident in her work led to her becoming the first African-American and the second American woman to publish a volume of poetry.

Or delve into the verses of Frances Ellen Watkins Harper, a staunch abolitionist, suffragist, and one of the first African-American women to publish a novel (Iola Leroy, in 1892). Her political activism is particularly evident in her poetry, which often showcased the horrors of slavery through the lens of motherhood. Her powerful “The Slave Mother, a Tale of the Ohio,” was based on the same real-life events that inspired Toni Morrison’s novel Beloved.

The final stanza of Harper’s moving “Bury Me in a Free Land” reads:

 I ask no monument, proud and high

To arrest the gaze of the passers-by;

All that my yearning spirit craves,

Is bury me not in a land of slaves.

African American Poetry also includes the work of Lucy Terry Prince, Jupiter Hammon, James Monroe Whitfield, Paul Laurence Dunbar, and many more early African American poets. Access African American Poetry here and here.

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