Publishers Weekly

King (Island Bodies), an accomplished scholar and performer, opens her formally daring verse debut with a version of “My Bonnie Lies over the Ocean,” recasting it to address Afro-Caribbean diasporas, and starring Yoruba deities Eshu, Oshun, and Ogun. “My brawn it belongs to the Ogun/ my blood it flows into the sea/ the two meet inside a black body/ and whisper you fight to be free,” runs one of several verses before the newly meaningful call to “Bring/ Back.” It is representative of several defining elements of the book, among them a deep engagement with history and mythology, a sense of play, and formal techniques that require the reader to hear—not just read—the poem. King teases out the tension between poem as print object and performance score, not only through the poems’ music, but also through unconventional uses of the page and typography, extreme lineation (“you/ no/ me/ no/ us/ yes/ we/ then/ who”), as well as through onomatopoeia, misspellings (“Her genus lies in the fat that her writing perfectualy invects the reeder in”), and the incorporation of other languages, including Wolof and several Caribbean vernaculars. King uses English while writing beyond and against the bounds of its conventions, and also to foreground the speaking, hearing body—and importantly, the black, queer, female body—as the site where language originates and lands. (Mar.)