“A woman stretched her body for me, and I have no words to describe her in wholeness, but without shame, I want you to know her. My mother.”
I have said (or ‘written’) it before but I don’t feel particularly qualified to review poetry collections. This is why I am planning on reading more poetry in 2022. Hopefully, by the end of the year, I will figure out what kind of poetry I like and why. The last poetry collection I read, Time is a Mother, was, in my inexpert eyes, very much all flash and no substance. Black Girl, Call Home manages to have both. The poems included, which vary in length, structure, and style, present readers with a hybrid and vibrant collection. I know descriptors such as raw, powerful, and timely are somewhat clichèd, especially when used the describe the work authored by poc or lgbtq+ ppl, but at this point in time, I cannot think of better words to use for Black Girl, Call Home. Girlhood, queerness, Blackness, daughterhood, belonging, are the recurring subject matters in Jasmine Mans’ poems. She writes candidly of complex mother-daughter relationships, of her sexuality, of her coming of age, of growing up Black, female, and queer in America, of reconciliation, of identity, of grief, of love. Many of her poems also read like indictments to the systemic and institutional racism that are still very much prevalent in the 21st century. She writes about the physical and emotional violence experienced by Black ppl, about the fear mothers feel over their children growing up Black and/or queer in America, about violence against women, about Black hair, about missing girls, about Michelle Obama and Serana, about social media, about God, and about being a lesbian (“1,000 Questions on Gender Roles for a Lesbian” certainly hit close too home). Some of the poems last a few lines, others a few pages. Some have a staccato-quality to them, others adopt a more narrative approach, for example when she gives us a glimpse into her childhood. We also get lists and crosswords, that are not exactly poetry but are nevertheless striking in that they confront us with the names of girls who have gone missing or the names of women who have been sterilized without their consent. The only one that didn’t work for me was the one on periods. I just don’t ‘vibe’ with how periods are more or less mythologised, especially since not all women have them.
Some of the poems in this collection gave me goosebumps, and I believe that is a sign that Black Girl, Call Home is a truly hard-hitting collection. While much of what Mans writes about is equal parts saddening and maddening, her poems retained a lightness and lucidity that made it impossible for me to leave them unfinished. Whenever I started one of her poems I was unable to look away. Her voice demanded to be heard, so I listened.
I thoroughly recommend this collection, especially to those who, unlike me, are more passionate about poetry.
my rating: ★ ★ ★ ½