Here are 100 books that Perfect Black fans have personally recommended if you like
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For my first 18 years, I slept in the same room (opposite my parents) in the same house (116 Monticello Avenue) in the same city (Piedmont) in the same state (CA) in the same country (USA), but soon after leaving for college in Evanston, IL, I pined for elsewhere and ended up peripatetic. That peripateticness plagued me, as a woman/wife/mother. While growing our family, my French husband and I moved: Israel to France to California to New York to Israel to New York to Israel. Finally, in my early fifties, I understood home is more about who you are than where you live.
This book combines compressed prose with nonfiction truth-telling but it isn’t linear or a complete story as much as a snapshot of Fennelly’s childhood, home life, and keen observations.
This book showed me that the quality of writing trumps the quantity of words. Short and sparse, when well written, can find a place on a bookshelf and shine.
The 52 micro-memoirs in genre-defying Heating & Cooling offer bright glimpses into a richly lived life, combining the compression of poetry with the truth-telling of non-fiction into one heartfelt, celebratory book. Ranging from childhood recollections to quirky cultural observations, these micro-memoirs build on one another to arrive at a portrait of Beth Ann Fennelly as a wife, mother, writer and deeply original observer of life's challenges and joys.
Some pieces are wistful, some wry and many reveal the humour buried in our everyday interactions. Heating & Cooling: 52 Micro-Memoirs shapes a life from unexpectedly illuminating moments and awakens us to…
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
I love the gorgeous, lyrical language Limón uses to sort out loss, own her power, and the power of the “huge beating genius machine” of the heart.
Limón uses imagery so visceral I can touch it, and examines the light and dark of womanhood when she declares, “…the largeness of me, the hot/gore of my want and wants, wants to disarm/the fixedness of this”. I like that what she writes is understandable, but never easy. Limón currently serves as our nation’s Poet Laureate.
Bright Dead Things examines the chaos that is life, the dangerous thrill of living in a world you know you have to leave one day, and the search to find something that is ultimately "disorderly, and marvelous, and ours." A book of bravado and introspection, of 21st century feminist swagger and harrowing terror and loss, this fourth collection considers how we build our identities out of place and human contact--tracing in intimate detail the various ways the speaker's sense of self both shifts and perseveres as she moves from New York City to rural Kentucky, loses a dear parent, ages…
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
I like poetry that teaches me something, and I like how Harjo can teach me about Native American myth and culture (as a member of the Muscogee Nation)in a poem set within the context of something as mundane as an airport.
She expertly threads together the modern with the historical, and the sacred within the ordinary. “Once a woman fell from the sky. The woman who fell from the sky was neither murderer nor saint. She was rather ordinary…”
I am also struck with how Harjo unifies her own unique culture with the shared experiences of all of us, as in: “Perhaps the world will end at the kitchen table, while we are laughing and crying, eating of the last/ sweet bite”.
She draws from the Native American tradition of praising the land and the spirit, the realities of American culture, and the concept of feminine individuality.
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
This book embraces both the conventional and the campy. Odes is unafraid to take an unflinching look at an aging female body, and when I say “unflinching”, I mean poems like, "Ode to the Hymen" or "Blow Job Ode".
She also addresses conventional subjects in her poems, such as her sister, buttermilk, and the wind. Odes definitely pushes boundaries, but does so with consummate skill, so that you feel both highly literary and a little dirty at the same time.
She doesn’t just talk about obvious body parts, either. In "Ode to Wattles", she writes, “…I love to be a little/disgusting, to go as far as I can/into the thrilling unloveliness/of an elder woman’s aging.”
PULITZER PRIZE WINNER • An intimate collection of poems that “picks up where Stag’s Leap left off, which is to say that it contains some of the best and most ingenious poems of her career.” —The New York Times
Opening with the powerful and tender “Ode to the Hymen,” Sharon Olds addresses and embodies, in this age-old poetic form, many aspects of love and gender and sexual politics in a collection that is centered on the body and its structures and pleasures. The poems extend parts of her narrative as a daughter, mother, wife, lover, friend, and poet of conscience…
I’m a trans, Latinx yoga teacher, writer, and musician who transitioned at the age of 40. Before that, I’d spent most of my life trying to live by someone else’s rules…only to realize, when my dad was dying, that I was not truly living. The funny thing is, as an artist and teacher, I’d dedicated myself to helping others live their lives to the fullest but had not granted myself the same courtesy. Sometimes, our lessons are hard-won. The books on this list have been beacons of hope and treasure trove chests of inspiration for me, as I hope they will be for you, too.
I love hearing Andrea read it because of the feeling conveyed in their voice and the way it brings out the musicality in their incredible words. There is also something mesmerizing about reading it on the page, having the time to taste the words and all the space in between the lines.
Andrea’s writing is raw, visceral, and bittersweet-hurts-so-good kind of writing. Their poetry goes right to the quick. This is a book for the ages that, every time I read it, distills for me what matters in my life.
2023 Feathered Quill Book Awards Gold Medal Winner 2022 Independent Publisher Book Awards (IPPY) Gold Medal Winner 2022 Over the Rainbow Short List 2021 Goodreads Choice Awards - Best Poetry Book Finalist 2021 Bookshop's Indie Press Highlights
You Better Be Lightning by Andrea Gibson is a queer, political, and feminist collection guided by self-reflection.
The poems range from close examination of the deeply personal to the vastness of the world, exploring the expansiveness of the human experience from love to illness, from space to climate change, and so much more in between.
I'm an Emmy Award-winning writer, wife, and adoptive mother with an unapologetic passion for Black queer stories. I'm also an artist-activist who takes great pride in producing content that sparks honest dialogue and positive change. Life's complexities energize me, and, as a queer artist of color, I'm committed to reflecting these intricacies in my work. I write, produce video, and host allyship seminars as well as art as activism workshops for LGBTQ+ youth. If you're both inspired and entertained by layered depictions of BIPOC queer culture then please check out the recs in my Queer-tastic reading list. Enjoy!
I love pretty packaging, so it's no surprise that Mans' Black Girl, Call Home stopped me in my tracks. The cover art, an over-the-shoulder shot of a young Black girl, her head bedazzled in a rainbow assortment of brightly colored barrettes. For me and Black women across the globe, the image evokes instant nostalgia. Luther on the radio. Me between my mama's legs. And the smell of Blue Magic hair grease slathered on the back of her hand.
Both painful and empowering, Mans' candid approach to feminism, race, and LGBTQ+ identity is wrapped in undeniable realness. Whether readers identify as Black and queer or simply as women on the path to healing, Mans' rhythmic collection of truths inspires self-acceptance and sisterhood. Do yourself a favor — order the audiobook and be blown away by Mans' heartfelt spoken word!
A Most Anticipated Book of 2021 by Oprah Magazine • Time • Vogue • Vulture • Essence • Elle • Cosmopolitan • Real Simple • Marie Claire • Refinery 29 • Shondaland • Pop Sugar • Bustle • Reader's Digest
“Nothing short of sublime, and the territory [Mans'] explores...couldn’t be more necessary.”—Vogue
From spoken word poet Jasmine Mans comes an unforgettable poetry collection about race, feminism, and queer identity.
With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America—and the painful, joyous…
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 have specialised in writing about radicals and non-conformists who seem to me to be the most interesting people in the world. I like books about people doing challenging things and making a difference. I love travelling to obscure archives in other countries and finding the riches of personal papers in dusty old rooms curated by eccentric archivists who greet me like an old friend.
As the years pass it seems to me that Sylvia Plath is not just one of the notable poets of the second half of the twentieth century but the stand-out voice after whom everyone had to refer back to her. Her death by suicide still stirs the imagination; her poems are a kind of controlled scream showing her wrestling with an intolerable mental condition.
This comprehensive volume contains all Sylvia Plath's mature poetry written from 1956 up to her death in 1963. The poems are drawn from the only collection Plath published while alive, The Colossus, as well as from posthumous collections Ariel, Crossing the Water and Winter Trees.
The text is preceded by an introduction by Ted Hughes and followed by notes and comments on individual poems. There is also an appendix containing fifty poems from Sylvia Plath's juvenilia.
This collection was awarded the 1981 Pulitzer Prize for poetry.
'For me, the most important literary event of 1981 has been the publication, eighteen…
Where do writers go for distraction? For me it’s usually into the work of other writers and, when I’m done escaping into fiction, I turn to nonfiction and particularly those writers who write about writing. Why? Because it helps refresh my own writing to read those writing with clarity, insight, and coherence when my own process is in danger of fragmenting. What’s more, many writers write so well about the components of writing - voice, structure, narrative or even something as prosaic as getting started - that I am reassured about what I’m trying to do with my own writing.
Even if you don’t want to be a poet, there’s something about playing with poetic form that I think is useful to any writer because it enables you to explore the use of rhythm, metaphor, simile and other ways of honing your consciousness into literary and written form. It demands specificity of description and uniqueness of voice, and Kate Clanchy’s book - she is herself a published poet, writer but also a teacher - gets to the nub of it through examples and exercise, to emerge a more fluent and confident writer, and in whichever form you choose.
Do you want to write a poem? This book will show you 'how to grow your own poem' . . .
Kate Clanchy has been teaching people to write poetry for more than twenty years. Some were old, some were young; some were fluent English speakers, some were not. None of them were confident to start with, but a surprising number went to win prizes and every one finished up with a poem they were proud of, a poem that only they could have written - their own poem.
Kate's big secret is a simple one: is to share other…
