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Gumbo Ya Ya (University of Pittsburgh Press)
Winner of the 2020 Cave Canem Poetry Prize, Selected by Douglas Kearney
Gumbo Ya Ya, Aurielle Marie’s stunning debut, is a cauldron of hearty poems exploring race, gender, desire, and violence in the lives of Black gxrls, soaring against the backdrop of a contemporary South. These poems are loud, risky, and unapologetically rooted in the glory of Black gxrlhood. The collection opens with a heartrending indictment of injustice. What follows is a striking reimagination of the world, one where no Black gxrl dies “by the barrel of the law” or “for loving another Black gxrl.” Part familial archival, part map of Black resistance, Gumbo Ya Ya catalogs the wide gamut of Black life at its intersections, with punching cultural commentary and a poetic voice that holds tenderness and sharpness in tandem. It asks us to chew upon both the rich meat and the tough gristle, and in doing so we walk away more whole than we began and thoroughly satisfied.
Aurielle Marie is a Black and queer essayist, poet, and cultural strategist hailing from the Deep South. A 2019 Ploughshares Emerging Writer award recipient, she’s received invitations to fellowships from many literary institutions, including Lambda Literary, VONA Voices, and Tin House. Her work is featured in TriQuarterly, Southeast Review, Black Warrior, and other journals. Aurielle Marie writes and speaks about Blackness, bodies, sex, and pop culture from a Black feminist lens.
Morgan Parker is a poet, essayist, and novelist. She is the author of the young adult novel Who Put This Song On?; and the poetry collections Other People’s Comfort Keeps Me Up At Night, There Are More Beautiful Things Than Beyoncé, and Magical Negro, which won the 2019 National Book Critics Circle Award. Parker’s debut book of nonfiction is forthcoming from One World. She is the recipient of a National Endowment for the Arts Literature Fellowship, winner of a Pushcart Prize, and has been hailed by The New York Times as “a dynamic craftsperson” of “considerable consequence to American poetry.”