I come to this book as an outsider. I am a white guy, a Jew, reviewing a volume of African American poetry for black people in Baltimore. I do this because I live in Baltimore, I feel a kinship with African Americans due to our shared history; and I want to know how poetry of different communities works.

This is all the more true because Tariq Touré’s poetry, in this black-and-white volume called “Black Seeds,” is aimed at his community. These are short poems about the state of black Baltimore, about life and death and striving, murder and failure and desperation. Each poem is accompanied on the facing page by an image, often a photo of an African American looking into the camera. The portraits are unadorned, beautiful.

This is 31rwu9z9dl-_sx322_bo1204203200_more than a community – it is an audience before whom the poet is performing. This is a multimedia presentation. It is based on the slam esthetic: each poem ends with a boldfaced title, the performer naming what he has just delivered with a flourish.

There are calls to nationalism:

“I see empires in your furrowed eyebrows” — Nubia

… and prayerful meditations on the self:

“Man is given seconds, yet begs for minutes”–The curious attention span

This is hip-hop on the page, and as such strikes a balance. On the one hand there is rhyme aplenty and anaphora, familiar in any oral tradition; on the other these are verses with plenty of space, cascading down the page, and capital letters to give emphasis. There is a poem Balance about this tension between the weight of history (and literacy) and the present-day of orality (and popular culture):

I have friends
Who sit and Pontificate
Musing over Plans
To leave
More than
A biological imprint
7 generations
Down the stream
Where
Apple headed children
Trip over
Their forefathers & foremothers
Legacies
On the way to school

And

I have friends
That have only
Planned
For Saturday night

The entire slim volume is balanced on the razor’s edge of this conflict: duties to the self versus duties to one’s people; honoring past martyrs and building bridges to the future impervious to flame.

Indeed, this book is surrounded by flame, fire out of the gunbarrels of police and the torches of protest in the wake of Freddie Gray’s death. One would expect there to be more hate. I don’t read that here, though there is sorrow and rage:

Jim crow’s skeleton
fell out of
a police van
crashed onto the ashen pavement
paraded down Pennsylvania avenue
brutalized the metal cavalry
of pigs
subsequently
announcing a 100% off sale
the city glowed
as Watts glowed
as Harlem glowed
as Ferguson glowed
for Freddie

Baltimore Power Keg

“Glowing” as candles glow, not burning or flaming as an explosion. The skeleton, zombified, brings multiple sites of tragedy and brutality into redemptive communion.

In the wake of my move to Baltiimore seven years ago, and even more so in the wake of Freddie Gray’s death, I have read more and more (though still not enough) contemporary poetry by African Americans. These poets inhabit a diverse space. Toure’s is not the academic poetry of Terrence Hayes or the pop-culture fueled confessional wit of Saeed Jones. His gifts are in the shared world of oral and written, of street, school, protest, home, and quiet self. I look forward to reading more of him, as he sheds his glow.