& More Black

by T'ai Freedom Ford

t’ai freedom ford’s second collection of poems, & more black, is direct, ingenious, vibrant, alive, queer, & BLACK. By turns tough and sexy, wrapped up in the evolving language and sonics of life, these poems take their cue from Wanda Coleman’s American Sonnets as they rhapsodize and dialogue with artists such as Carrie Mae Weems, Glenn Ligon, and Wangechi Mutu, along with many other musicians, artists, and writers. The kinetic energy of ford’s words leap off the page in rebellious, stunning, and revelatory fashion—poems that mesmerize with sheer velocity and telling pauses.

Genres: Poetry, LGBT, Queer

104 pages, Paperback

First published May 1, 2019

Reviews

[Drew · Rating 5 out of 5]

There's so much to praise about "& more black": the conceptual layout that gifts you two back-to-back books in one; the way Ford reinvigorates the sonnet form in one of those books; her unfailing sense of rhythm and deft use of space in the other; the effortless intertwining of pop (Pam Grier, Lionel Richie, Raven-Symone) and high culture (Gertrude Stein, Glen Ligon, Carrie Mae Weems) throughout. Surely, Ford's energized and audacious collection ranks among the best poetry books released in 2019. As someone who also had a book come out that year, I'm humbled, inspired, and thoroughly impressed.

[Ricardo Garcia · Rating 5 out of 5]

such a beautiful collection of poems

[Dylan Zucati · Rating 5 out of 5]

I was listening to a reading T’ai Freedom Ford was giving at a poetry showcase that The New School and Cave Canem Foundation were doing through their Creative Writing Program. After her first reading she said, “My poems get jealous of each other if you clap more for one than the other y’know or one gets the big head and then I gotta go home and deal with this poem…” and while she was referring to a different poetry collection, the same feels true for & More Black. It’s hard for me to separate one poem from another because they all fit together, like a dysfunctional family trying to make sense of their personal history. Puzzle pieces from different moments in a persons life that fit together, but don’t necessarily make just one picture. There’s a cohesiveness I can’t define, logic without instruction can still makes sense, you just have to trust the person supplying it. In the intro to the blue book half of this collection, Patrick Rosal encourages you to read the poems out loud, hear & More Black be, “truth moving at the speed of sound.” I couldn’t give you better advice.

This collection of poetry is divided into two parts. One side is blue and the other is red. The copy I read put the red cover first because the shelfmark number was at the bottom of that side’s spine. When you reach the end of one, you see the end of the other, upside down, coming to you backwards. If that doesn’t make sense then I guess you’d have to see it. The book of poems references art, visual and musical, as well as other works of writing or history, many of which I don’t recognize. At no point reading did I feel the need to understand the context Ford puts the poems in, her words speak for themselves. It might’ve been the case that I’d enjoy them more knowing where they came from, but she doesn’t gate-keep the reader from her poetry because you don’t understand the reference. Everything rings true from jump and only improves with each return to the text. I read the book twice, once in my head while in public and once out-loud, alone in my room. A white man like myself shouldn’t be reading these poems in front of others where someone might mistake my intent, but every poem begs to be read into the air where their words can work magic as intended.

T’ai Freedom Ford’s writing flies and falls from the page like she was in the room with you. Even out of my lips, the words feel full of life. Some halt the speech, catching the audience in images that deserve pause, need a slower pace to fully be taken in. Others race to the end, firing off with a perfect rhythm that can’t be contained by anything other than the poem’s final words. There were some I wanted to hear Ford read herself because no matter how I tried, I couldn’t unlock the pattern her words wanted to be read in. It was right there, under the lines, but I just couldn’t figure it out for myself. Poetry is like that for me sometimes. I wish more opportunities were made for poets to read their work in audiobook form, though maybe they wouldn’t want to perform that way. I don’t know. It’s a mystery that takes my breath away and perplexes me in the same experience. Poetry is both a roadmap through, and deeper into the mysteries of life. I encourage you to get lost deep within & More Black, stumbling back out when Ford’s words pump through your veins as your heart learns a new rhythm improving on the old.

[Emily Pérez · Rating 5 out of 5]

I reviewed this book for RHINO Poetry--here's the start:

& more black, the second full length collection by t’ai freedom ford, demands both thought and action. A book doubled, such that it can be flipped over and read in either direction, it features two front covers, tables of contents, and sets of acknowledgements. The construction disconcerts, and with it, ford issues a wry challenge. Readers must decide where to begin and then commit. Further, because it “ends” in the middle, requiring the reader start over, the text loops like an infinity symbol, suggesting the argument of & more black does not conclude; it begins again. The book describes itself in one “about the author” section as a collection of “Black-ass sonnets”:

The poems are rebellious, outspoken, and take no shit. They investigate Black art, Black bodies, Black sexuality, and Black language, unapologetically and with a capital B.

“Take no shit” also deserves capitalization—ford’s poems explode with truth and music, celebrating Blackness while eviscerating cultures that feed on Black suffering.

https://rhinopoetry.org/reviews/-more...

[Carolyn · Rating 4 out of 5]

I think this is the only poet I read two books by in August. Is that right? Not sure. Loved these “Black-ass sonnets” as the blurb calls them. They’re raw and angry and just cut right to the quick. Stunningly succinct, moreso than your average sonnet for sure. “Ain’t” was the closer and my very favorite (assuming that side was supposed to be second, who’s to know). But there were so many really unique moments.

I liked the first Ford collection I read a tiny bit better (How to Get Over) but I think that's because there was a bit more variety in style and focus.

[Michael · Rating 5 out of 5]

I loved these poems. What playfulness the author has with words. She plays with the sounds, with the rhymes, with the form of the book (which is two books in one). T’Ai Freedom Fords laughs and plays while speaking very seriously about life and society and the world. I loved these poems.

[Nancy · Rating 4 out of 5]

The band comes right up on the porch under the roof tubas drums hit with soft mallets
louder than loud I can't keep my face straight
can't keep my porch can't not want the smoke around us

[Kent Winward · Rating 3 out of 5]

But the last poem "ain't" was fantastic.

[Sarah · Rating 5 out of 5]

New fave.

[Melissa · Rating 4 out of 5]

There is beauty in the rhythms Ford creates.

[Sarah · Rating 5 out of 5]

These poems sound so great--so pleasurable in their noisiness.

[Jennifer · Rating 4 out of 5]

Hella Black, so good!

[Kristin · Rating 4 out of 5]

This book. Wow. The play with and signifyin on form—damn. The exploration of Black queer identity. Whew.

[mil · Rating 4 out of 5]

would be a 4.5 if i could

[Amorak Huey · Rating 5 out of 5]

Excellent book of poems. Just outstanding.

[Maughn Gregory · Rating 5 out of 5]

These poems alternate between wet, warm whispers and gut punches.

[b (tobias forge's version) · Rating 4 out of 5]

Part of my June project to read as many Lambda Literary Awards winners and finalists for poetry as I could, with a focus on lesbian and trans authors. Propulsive, incendiary, sexy verse that I wanted to hear out loud, rhythm-rich and image-heavy.