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4.39 AVERAGE
4.39 AVERAGE
emotional
informative
medium-paced
This collection is my town's one book selection and I'm proud of the library for selecting this expansive and critical collection. I booktalked it to all middle schoolers at the end of the year; it's a collection for young people, Coval said this himself. I loved it and could hear Coval throwing it down while I read; I wish I'd made it to a reading. It's a collection I will be proud to have in our school library, as Chicago is infinitely interesting to our young people. The nerd in me wanted to be able to connect poems to the 77 neighborhoods, and I probably could if I didn't have dinner to make and children to tend. I'm proud of myself for reading poetry, something I rarely do. Each poem is smart and so carefully curated. Each has a message about what Chicago is, could be, was, is becoming, need look out for.
challenging
informative
reflective
Great series of Chicago histories that is readable, educational and had me flipping between the book and Wikipedia.
I have read several books on Chicago history and yet I learned more from this thin volume of poetry than all those tomes. The poems are portraits of historical
figures (usually those neglected by history) or vignettes of important events. Highly recommend this book.
figures (usually those neglected by history) or vignettes of important events. Highly recommend this book.
This was Oak Park’s community read pick 2018.
Chicago poet Kevin Coval’s take on Chicago’s definitive moments, movements, and people, starts with imagery of marsh land, wild leeks, onion, and Indian tribes in “Shikaakwa, 1492,” and ends with “Chicago Has My Heart, 2017.” Most of the subjects will be familiar to those who know Chicago history; the references not familiar to me are mostly in Coval's poems written in the new millennium. Makes sense as I am not part of Coval's scene and in this section he puts his history and things important to him.
Like Coval, I am a Chicago-born child of the 70’s and “Chicago has my heart.” Chicago is the city that formed me, gave me lots of good memories, but. Coval puts a “but” after that refrain. Because you can’t ignore the violence problem, the blood-shed past and present, turbulent times, the corruption, the continuing inequalities and high number of shootings.
My favorites were “How to Be Down: Jane Adams,”“The Day Harold Died,” and “400 Days: Oct 2014-Nov 2015.” I remember the day Harold (Washington) died and I like the poem because it’s one in which Coval puts his personal experience, as he does in “400 Days” which is a mix of his life and city events in a span of just over a year.
“The White City” surprised me with Covel’s interesting take on that subject, which is not a positive one. Also not flattering is “Hugh Hefner, A Play Boy.” I'm glad a poem about Chicago legend Hugh Hefner was included (how could it not be?) but I hated this one. Not because Coval doesn’t acknowledge any positive influence Hef had: he was pro-integration, helped advance civil rights, and caused many women to feel empowered, (Yes, I know he didn't pay the bunnies fairly until Gloria Steinem published an article to make him aware), but because this poem is amateurishly simple. The poem includes the words misogyny, objectification, sexual harassment and preyed. Of those, preyed is the only word that works poetically, it paints a strong picture. Those other words are too utilitarian for poetry. Just paint pictures. Let the reader decide. Which is what Coval does in most of the other poems. Overall pretty good. Some strong language.
Chicago poet Kevin Coval’s take on Chicago’s definitive moments, movements, and people, starts with imagery of marsh land, wild leeks, onion, and Indian tribes in “Shikaakwa, 1492,” and ends with “Chicago Has My Heart, 2017.” Most of the subjects will be familiar to those who know Chicago history; the references not familiar to me are mostly in Coval's poems written in the new millennium. Makes sense as I am not part of Coval's scene and in this section he puts his history and things important to him.
Like Coval, I am a Chicago-born child of the 70’s and “Chicago has my heart.” Chicago is the city that formed me, gave me lots of good memories, but. Coval puts a “but” after that refrain. Because you can’t ignore the violence problem, the blood-shed past and present, turbulent times, the corruption, the continuing inequalities and high number of shootings.
My favorites were “How to Be Down: Jane Adams,”“The Day Harold Died,” and “400 Days: Oct 2014-Nov 2015.” I remember the day Harold (Washington) died and I like the poem because it’s one in which Coval puts his personal experience, as he does in “400 Days” which is a mix of his life and city events in a span of just over a year.
“The White City” surprised me with Covel’s interesting take on that subject, which is not a positive one. Also not flattering is “Hugh Hefner, A Play Boy.” I'm glad a poem about Chicago legend Hugh Hefner was included (how could it not be?) but I hated this one. Not because Coval doesn’t acknowledge any positive influence Hef had: he was pro-integration, helped advance civil rights, and caused many women to feel empowered, (Yes, I know he didn't pay the bunnies fairly until Gloria Steinem published an article to make him aware), but because this poem is amateurishly simple. The poem includes the words misogyny, objectification, sexual harassment and preyed. Of those, preyed is the only word that works poetically, it paints a strong picture. Those other words are too utilitarian for poetry. Just paint pictures. Let the reader decide. Which is what Coval does in most of the other poems. Overall pretty good. Some strong language.
emotional
informative
inspiring
reflective
challenging
emotional
informative
slow-paced
I think these are good poems, but I also think Kevin Coval is an asshole— these two sentiments can (and should) simultaneously exist.
Many of these poems are stunningly composed. The text includes events that the (white) authors of history didn’t want us to know about, which I am always here for. It did all the things good poetry should do: inspired me, delighted me, made me profoundly uncomfortable in the best way. Coval uses the best words to rail against the corruption and hatred that’s plagued Chicago since its settlement by Europeans.
But ultimately it all feels hollow. Coval’s witty (and warranted) evisceration of several Chicago mayors, laws, and institutions is incredibly ironic—the poet himself is a misogynistic and corrupt gatekeeping wretch who used his influence to protect sexual predators and alienate women in his youth poetry organizations. He covered up sexual assault allegations because he was friends with the alleged perpetrators; we can’t pretend his behavior is all that different from that of Chicago’s political elite. For me, that hypocrisy inhibits most of the good that this book could do.
I recommend instead: reading Saul Williams to experience the congress of poetry and hip-hop, and reading Eve Ewing or Gwendolyn Brooks for powerful poetry by Chicagoans.
I recommend instead: reading Saul Williams to experience the congress of poetry and hip-hop, and reading Eve Ewing or Gwendolyn Brooks for powerful poetry by Chicagoans.