In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. 
Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.
﻿Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow.
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Anthony Reed, "Soundworks: Race, Sound, and Poetry in Production" (Duke UP, 2020)

Interview with Poets about their New Books
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Arts

Literature

Performing Arts

Design

Food

Fashion & Beauty

Visual Arts

How to Love in Sanskrit (HarperCollins, 2024) is an invitation to Sanskrit love poetry, bringing together verses and short prose pieces by celebrated writers. How do you brew a love potion? Turn someone crimson with a compliment? How do you make love? How do you quarrel and make up? Nurse a broken heart? And how do you let go? There's something for everyone in this brilliantly translated ancient guide to love for modern readers.
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Anusha Rao and Suhas Mahesh, "How to Love in Sanskrit" (HarperCollins, 2024)

A collected series of intertwined poetic essays written by acclaimed Japanese poet Hiromi Ito--part nature writing, part travelogue, part existential philosophy. Written between April 2012 and November 2013, Tree Spirits Grass Spirits (Nightboat Books, 2023) adopts a non-linear narrative flow that mimics the growth of plants, and can be read as a companion piece to Ito's beloved poem "Wild Grass on the Riverbank". Rather than the vertiginously violent poetics of the latter, Tree Spirits Grass Spirits serves as what we might call a phyto-autobiography: a recounting of one's life through the logic of flora. Ito's graciously potent and philosophical prose examines immigration, language, gender, care work, and death, all through her close (indeed, at times obsessive) attention to plant life.
For a better understanding of this collection and the author, the following books are recommended by translator Dr. Jon Pitt:

Hiromi Ito - Wild Grass on the Riverbank


Hiromi Ito - The Thorn Puller


Robin Wall Kimmerer - Braiding Sweetgrass


Hope Jahren - Lab Girl


Jeanie Shinozuka - Biotic Borders


Banu Subrahmaniam - Ghost Stories for Darwin



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Hiromi Ito, "Tree Spirits Grass Spirits" (Nightboat Books, 2023)

When I decided to try my hand at interviewing authors for the New Books Network, one of my dream guests was Steve Mentz. Steve’s work in the environmental humanities marries a rigorous archival work, pathbreaking close readings, and a fluent and innovative approach to scholarly writing. I think he’s charted a course for early modern ecocriticism that has been both impressive and energizing.
Steve Mentz is a Professor of English at St. John’s University. He has produced numerous books that have shaped the emerging field of the blue humanities, including Shipwreck Modernity; At the Bottom of Shakespeare’s Ocean; the Bloomsbury Objects entry Ocean; and the recent An Introduction to the Blue Humanities. He has published a chapbook of poetry, Swim Poems. His Bookfish blog is also a wonderful index for scholarly and creative work happening right now. Today, I am excited to discuss his most recent book of blue poetry, Sailing Without Ahab, just published by Fordham University Press in 2024.
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Steve Mentz, "Sailing without Ahab: Ecopoetic Travels" (Fordham UP, 2024)

In Memoriam: David Ferry (1924-2023)
In this Recall This Book conversation from 2021, poets David Ferry and Roger Reeves talk about lyric, epic, and the underworld. The underworld, that repository of the Shades of the Dead, gets a lot of traffic from heroes (Gilgamesh, Theseus, Odysseus, Aeneas) and poets (Orpheus, Virgil, Dante). Some come down for information or in hopes of rescuing or just seeing their loved ones, or perhaps for a sense of comfort in their grief. They often find those they have loved, but they rarely can bring them back. Comfort they never find, at least not in any easy way.
The poets talk about David’s poem Resemblance, in which he sees his father, whose grave he just visited, eating in the corner of a small New Jersey restaurant and “listening to a conversation/With two or three others—Shades of the Dead come back/From where they went to when they went away?”
"I feel the feathers softly gather upon
My shoulders and my arms, becoming wings.
Melodious bird I'll fly above the moaning
Bosphorus, more glorious than Icarus,
I'll coast along above the coast of Sidra
And over the fabled far north Hyperborean steppes."
-- from "To Maecenas", The Odes of Horace, II: 20.
Their tongues are ashes when they’d speak to us.
David Ferry, “Resemblance”
Roger reads “Grendel’s Mother,” in which the worlds of Grendel and Orpheus and George Floyd coexist but do not resemble each other, and where Grendel’s mother hears her dying son and refuses the heaven he might be called to, since entering it means he’d have to die.
Henry Justice Ford, ‘Grendel’s Mother Drags Beowulf to the Bottom Of The Lake’, 1899
So furious. So furious, I was,
When my son called to me, called me out
Of heaven to come to the crag and corner store
Where it was that he was dying, “Mama,
I can’t breathe;” even now I hear it—
Roger Reeves, “Grendel’s Mother”
Mentioned in this episode

David Ferry, Bewilderment: New Poems and Translations, University of Chicago Press

Virgil, The Aeneid, translated by David Ferry, University of Chicago Press

Horace, The Odes of Horace, translated by David Ferry, Farrar, Strauss, and Giroux

Roger Reeves, King Me, Copper Canyon Press

Roger Reeves, Best Barbarian, W.W. Norton Press

Jonathan Culler, Theory of the Lyric, Harvard University Press


Read transcript of the episode here.
Listen to the episode here.
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David Ferry, Roger Reeves, and the Underworld

Father Verses Sons: A Correspondence in Poems (Rare Bird, 2024). When the global pandemic forced his ninety-six-year-old father into isolation, filmmaker Ari Gold became concerned that loneliness would kill his father's spirits. As a prolific novelist who began writing in his twenties, Herbert Gold's incredible oeuvre included twenty-four novels, five collections of stories and essays, and eight nonfiction books. So, Ari mailed his father a poem, asking for one in return. Later, Ari's twin brother, Ethan, also got into the game. Thus was launched a lifesaving literary correspondence, and a testament to the bonds of family. The resulting poems are playful, honest, funny, and moving. Secrets are invoked alongside personal - and often painful - history. Ari and Ethan's mother, Herbert Gold's second wife, died in a helicopter crash alongside the famous rock promoter and impresario Phil Graham in 1991. Her ghost roams through the poems and the wonderful archival photos included in full color throughout. In Father Verses Sons, a lushly illustrated "correspondence in poems," ranges across the life, family, and death of a remarkable father. The father and his sons write tenderly of their hunger for connection, about the woman that all three men have lost (a mother, a wife), and about the passion that all three seek. Ultimately, these poems tell a singular story of men bumbling their way towards love.
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Anthony Reed, "Soundworks: Race, Sound, and Poetry in Production" (Duke UP, 2020)

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