PACES THE CAGE

S*an D. Henry-Smith

Available for pre-order, with shipment anticipated in January

S*an D. Henry-Smith's second full-length book of poems, Paces the Cage, lifts off from their previous book by expanding an already-queered language to near breaking point. Through the complexities of Henry-Smith's personal experiences and the use of a poetically fragmented voice, the literal and metaphorical are remixed in real time. Henry-Smith's occasional inclusion of ambient sounds, stage directions, lighting cues and an environmentally musical language helps to build a rich auditory landscape that enhances the immersive quality of the poems, creating a deep and evocative experience by this adventurous and endlessly exciting poet. The spontaneous shifts in tone, style and subject matter offer a mirror to personal and historical narratives of oppression, adversity, the act of speaking and what it means to be truly heard by your community of fellow creators.

'S*an's PACES THE CAGE recalls to me Akilah Oliver’s 2004 An Arriving Guard of Angels, Thusly Coming to Greet. A lyrical unleashing into the many selves, the author here plays conduit for many beautiful bodies; for those souls wandering at daybreak; for the pudgy greased cheeks and those that murmur in the dew of twilight uncloaked. It is as if the poet has extracted from the marsh, the runoff, roundup and peat to stockpile and make lush a new yet familiar world. S*an has created a collection of diamonds from the salty mines of turtle tears. The divorced defanged possessive absent its apostrophe, left to the mud puddle for butterfly nuptials throughout, tells the reader: How you know me Now will be Different from how you knew me. These buoyant poems that are S*an’s latest songs have not missed the train this time. Make certain that you don’t. I’m in awe.' – LaTasha N. Nevada Diggs

'S*an D. Henry-Smith’s reverberant propositions seek the music of mutual renewal, constantly and impatiently approaching the present. This is a field of spiraling, alliterative song, the wild signature of Henry-Smith’s lyric, that renews commitments to militancy by naming and knowing its enemies as doubtlessly as it names and knows it lovers. PACES THE CAGE considers a set of conditions—technical, material phenomena—that produce collective and contradictory imaginations and gives words to the song that makes the gathering last, “all in for all…” PACES THE CAGE is a beautiful rehearsal of attentiveness, a rigorous and generous correspondence with the edges of the frame.' – dove, Christine Kirubi