Here are 7 books that Eecchhooeess fans have personally recommended if you like
Eecchhooeess.
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I’ve always been preternaturally attentive to the way words work—as components of meaning, but also as visual, aural, and functional objects with their own erratic behaviors. Since joining the Oulipo in 2009, I’ve had even more occasion to think and talk about how those behaviors can be pointed in a literary direction, and to recognize successful experiments when I read them.
A bracing slap to the face, this book. Or maybe a punch to the gut. The conceit is the series of portraits of hoarders based on the reality show of the same name, and the recipe is to combine their testimonials—“I save old soda cans and turn the tin snips into flowers,” say, or “I want desperately to change”—with lists of objects, described as though in a slow camera pan across a filthy room. But the alchemy is the way Durbin mashes the two together, not quite at random but not correctlyeither. It’s a harrowing litany of fragments, so specific that the unspoken point is all too clear: what’s broken is much bigger than any of these individual people or things.
A Lit Hub Most Anticipated Book of 2021 An NPR Best Book of 2021 An Electric Literature Best Poetry Book of 2021 A Dennis Cooper Best Book of 2021
In Hoarders, Durbin deftly traces the associations between hoarding and collective US traumas rooted in consumerism and the environment. Each poem is a prismatic portrait of a person and the beloved objects they hoard, from Barbies to snow globes to vintage Las Vegas memorabilia to rotting fruit to plants. Using reality television as a medium, Durbin conjures an uncanny space of attachments that reflects a cultural moment back to the reader…
I’ve always been preternaturally attentive to the way words work—as components of meaning, but also as visual, aural, and functional objects with their own erratic behaviors. Since joining the Oulipo in 2009, I’ve had even more occasion to think and talk about how those behaviors can be pointed in a literary direction, and to recognize successful experiments when I read them.
A full-length rewrite of Walt Whitman’s “Song of Myself” that preserves only the first and last letter of each line, Shelfis a consummate work of potential literature—from the “why on earth would someone do that” all the way to the “wait, this is actually dope.” Without ever estranging himself from Whitman’s transcendentalist trumpeting, Quintavalle burrows deep into the poem’s form and instills a disenchanted eloquence all his own.
Poetry. In this poem, Rufo Quintavalle has rewritten Walt Whitman's Song of Myself keeping the first and last letter of each line, and replacing the middle. Within this strict constraint, Quintavalle the poet has achieved a remarkable and touching intimacy at a distance with Whitman's inner world.
I’ve always been preternaturally attentive to the way words work—as components of meaning, but also as visual, aural, and functional objects with their own erratic behaviors. Since joining the Oulipo in 2009, I’ve had even more occasion to think and talk about how those behaviors can be pointed in a literary direction, and to recognize successful experiments when I read them.
I truly never thought I’d laugh out loud at an erasure poem. ThenInk Earl came along. Holbrook starts with a hundred copies of the original fifties ad pitch for the Pink Pearl eraser—get it yet?—and hacks away different parts of each, yielding a series of meditations and diatribes and bouts of spirited near-nonsense. The poems are consistently clever delights, and the project’s conceptual wholeness is icing on the cake.
ink earl takes the popular subgenre of erasure poetry to its illogical conclusion.
Starting with ad copy that extols the iconic Pink Pearl eraser, Holbrook erases and erases, revealing more and more. Rubbing out different words from this decidedly non-literary, noncanonical source text, she was left with the promise of "100 essays" and set about to find them. Among her discoveries are queer love poems, art projects, political commentary, lunch, songs, and entire extended families.
The absurdity of the constraint lends itself to plenty of fun and funny, while reminding us of truths…
I’ve always been preternaturally attentive to the way words work—as components of meaning, but also as visual, aural, and functional objects with their own erratic behaviors. Since joining the Oulipo in 2009, I’ve had even more occasion to think and talk about how those behaviors can be pointed in a literary direction, and to recognize successful experiments when I read them.
Subverting common non-literary forms is a staple of Oulipian exploration, and here, as the title suggests, Ian Williams trains a laser-guided eye on the personal ad, that essentially bygone realm of yearning and melancholy and lust. The gimmick is quick to give way, but the author’s obsessive formal restlessness remains, and the resulting poems, with their twitches and swerves and pitch-perfect interruptions, are all the more devastating for it.
The poems in Ian Williams's Personals are jittery, plaintive, and decidedly fresh. They are almost-love poems, voiced through a startling variety of speakers who continually rev themselves up to the challenge of connecting with others, often to no avail. Williams pays beautiful homage to traditional poetic forms: ghazals, a pantoum, blank sonnets, mock-heroic couplets, while simultaneously showcasing his own inventiveness and linguistic dexterity through the creation of brand new forms: poems that spin into indeterminacy, poems that don't end. With a deft hand and playful ear, Williams entices the reader to stumble alongside his characters as they search, again and…
I am a theater historian whose research focuses on African American theater of 1940s-50s. While other periods and movements—the Harlem Renaissance (1920s), the Federal Theatre Project (1930s), the Black Arts Movement (1960s), and contemporary theater—have been well studied and documented, I saw a gap of scholarship around the 1940s-50s; I wondered why those years had been largely overlooked. As I dived deeper, I saw how African American performance culture (ie. theater, film, television, music) of the later-20th Century had its roots in the history of those somewhat overlooked decades. I’m still investigating that story, and these books have helped me do it.
We tend to think about the Black Arts Movement of the 1960s as dominated by militant male voices. This book explores the rich contributions of black women artists to the movement—by amplifying the voices of women artists in their own words. The book is a collection of oral histories, drawing on dozens of interviews with influential Black women artists. Some of them are recognizable, like playwrights/poets Sonia Sanchez and Ntozake Shange. Others are less familiar names whose influence should be appreciated more fully. This is a rich celebration of the impact of women artists during a key period of African American cultural change.
The first oral history to fully explore the contributions of black women intellectuals to the Black Arts Movement, Sistuhs in the Struggle reclaims a vital yet under-researched chapter in African American, women's, and theater history. This groundbreaking study documents how black women theater artists and activists-many of whom worked behind the scenes as directors, designers, producers, stage managers, and artistic directors-disseminated the black aesthetic and emboldened their communities.
Drawing on nearly thirty original interviews with well-known artists such as Ntozake Shange and Sonia Sanchez as well as less-studied figures including distinguished lighting designer Shirley Prendergast, dancer and choreographer Halifu Osumare,…
I love hip hop. It’s basically poetry with a beat. I'm always thinking of literature in terms of rhythm and delivery. Creatively, my inspirations come from lyricists. I look at poets the same way. They accomplish wonderful feats with words. From years of listening to classic albums, I can feel the aliveness of a good verse. It’s also an element I try to tap into as a fiction writer. I'm a recipient of the 2023 Whiting Award and was also named an Emerging Writer Fellow at the Center for Fiction in 2018. My work has appeared in the Sewanee Review and Granta. He is the author of Stories from the Tenants Downstairs.
If you want a mix tape full of vibrant poets, this anthology has everybody and their mother.
Some of the cats I mentioned in the entries above plus Mahogany Browne, Fatima Ashgar, and so on. Word smiths respected by the literary scene and those hailed by the spoken word movement. If you're interested in the postmodern Hip-hop canon, this is the book for you.
Just as blues influenced the Harlem Renaissance and jazz influenced the Black Arts Movement, hip-hop's musical and cultural force has shaped the aesthetics of and given rise to a new generation of American poets. Edited by poets Kevin Coval, Nate Marshall, and Quraysh Ali Lansana, The Breakbeat Poets: New American Poetry in the Age of Hip-Hop is the first anthology of poetry from the hip-hop generation. The Breakbeat Poets are multigenerational and multiracial, employing traditional and wild style poetics to narrate a new landscape.
I am an educator, author and Jimi Hendrix Historian who has been studying Jimi Hendrix for over 20 years, with a concentration on promoting him to the youth and people of color. One of my prime objectives is to ensure that Jimi's ENTIRE legacy is covered and given the proper respect. Once you incorporate my two books on Jimi (Nobody Cages Me, and Jimi Hendrix Black Legacy) and my forthcoming documentary into the research that already exists on Jimi, only then, can you get a fuller picture of the complexities of Jimi Hendrix. I had to sift through many books, magazine articles, and a wide variety of multi-media to try to get a grasp on the REAL Jimi Hendrix. I started seeing holes in what was being presented, so I decided to talk to people that were there. Many of these people didn’t appear extensively in these source documents. This list is just a start. In order to TRULY understand the genius of Jimi Hendrix, you must dig a lot deeper.
This book was really the first serious biography on Jimi Hendrix. The author, David Henderson, was a contemporary of Hendrix and wrote the book as a favor to him. Henderson was a founding member of the Umbra Poets, an influential collective of poets and writers who were central to the Black Arts Movement. Clocking in at over 400 pages, this book offers a very detailed look at the total life of Hendrix, from his formative years in Seattle, to his life as a musical superstar, rubbing elbows with musical luminaries in London and NYC. This is the Jimi bio that I use to compare all other Jimi bios. (This bio has stood the test of time! There have been many pressings and updates to this book. Originally published in 1978, its latest reprint was in 2009.)
Fusing blues, jazz and psychedelia with an outrageous personal style and image, Hendrix is still revered as the most important instrumentalist in the history of rock. He died aged 27 from drugs and alcohol. Capturing the essence of Hendrix's intense, apocalyptic and ultimately tragic life, the author covers Hendrix's boyhood in Seattle, his years in the US Air Force, his reputation as the best sideman around, his manic trip to London and superstardom, the songs, the concerts, the flaming guitars, the drugs, the booze, the women and most important, the incomparable legacy he left behind.
