Don't Call Us Dead
(Author) Danez SmithShortlisted for the National Book Award for Poetry '[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 ground-breaking 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 an HIV-positive diagnosis. '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 an America where every day is too often a funeral and not often enough a miracle.
Danez Smith
Danez Smith is a prominent queer, non-binary Black poet and performer known for their powerful and emotive work. Their most notable works include "Don't Call Us Dead" and "Homie," both of which explore themes of race, sexuality, and identity with raw honesty and vulnerability. Smith's writing style is characterized by its lyrical language, vivid imagery, and unflinching exploration of personal and societal struggles. They have been a trailblazer in the world of contemporary poetry, pushing boundaries and challenging conventions with their fearless and impactful work. Smith's impact on their literary genre has been profound, earning them numerous awards and accolades, including a Lambda Literary Award and a Forward Prize for Best Collection. Their most famous work, "Don't Call Us Dead," has been hailed as a modern masterpiece and a vital contribution to the ongoing conversation around race, identity, and social justice. Smith continues to be a leading voice in contemporary poetry, inspiring and empowering readers with their unapologetic and transformative art.