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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
WINNER OF THE 2020 ST. LAWRENCE BOOK AWARD
In her debut full-length poetry collection, ALWAYS A RELIC NEVER A RELIQUARY, Brazilian American poet, editor and abolitionist Kim Sousa interrogates inheritance by reaching both backwards and forwards: backwards towards her father’s first border crossing and forwards past her own. Centered around a specific personal trauma, a later-term miscarriage, the poems also contain collective trauma: they ask what it means to live in the United States both as immigrant and citizen, addressing State terror and violence as if by megaphone at the protest line. In Sousa’s poems, the personal is political: they are anti-racist, ecocritical and proletariat. She sings diasporic resilience as both a horror and celebration. The poems are haunted but hopeful; here, there is always hope in rage and resistance.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
WINNER OF THE 2020 ST. LAWRENCE BOOK AWARD
In her debut full-length poetry collection, ALWAYS A RELIC NEVER A RELIQUARY, Brazilian American poet, editor and abolitionist Kim Sousa interrogates inheritance by reaching both backwards and forwards: backwards towards her father’s first border crossing and forwards past her own. Centered around a specific personal trauma, a later-term miscarriage, the poems also contain collective trauma: they ask what it means to live in the United States both as immigrant and citizen, addressing State terror and violence as if by megaphone at the protest line. In Sousa’s poems, the personal is political: they are anti-racist, ecocritical and proletariat. She sings diasporic resilience as both a horror and celebration. The poems are haunted but hopeful; here, there is always hope in rage and resistance.