Zong! (Wesleyan Poetry Series) - Hardcover By Philip, M. NourbeSe - GOOD

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ISBN
9780819571694
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Product Identifiers

Publisher
Wesleyan University Press
ISBN-10
0819571695
ISBN-13
9780819571694
eBay Product ID (ePID)
109049139

Product Key Features

Book Title
Zong!
Number of Pages
224 Pages
Language
English
Publication Year
2011
Topic
Africa / General, General
Genre
Poetry, History
Author
M. Nourbese Philip
Book Series
Wesleyan Poetry Ser.
Format
Trade Paperback

Dimensions

Item Height
0.8 in
Item Weight
14.4 Oz
Item Length
9.3 in
Item Width
7.1 in

Additional Product Features

Intended Audience
Trade
Reviews
"Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document." "…she treats each page as a field, a canvas-more accurately, the sea. The visual effect of viewing so many de-worded letters, de-sentenced words is astonishing; one seems to be looking at bodies in the ocean, their cries mere noise, sounds that only occasionally coalesce into words, phrases, sentences."-Tyrone Williams, African American Review, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "M. NourbeSe Philip writes a poetry whose innovation--her spells of silence, her stuttering syntax--is not an abstract experiment but a form of mourning for African words prohibited by 'the ceremony of White in the elsewhere of time.'"--Zinzi Clemmons, Literary Hub "A brash, unsettling book, Zong! wants to chant or shout history down, shut history up. It not only laments and mimics history's unreason but, verisimilar and retributive both, deranges history, as if to reorder its linguistic protocols might undo or redo history itself. Fretful, possessed, obsessed, upset, curse and homeopathy, both, it visits a breathtaking run of glossolalic scat upon historical trauma."--Nathaniel Mackay, author of Bass Cathedral "Zong! pushes its readers to understand the Zong incident in the complex contexts of both African spirituality, languages, and regions and the British (Western) slave trade and law, with its assumed racism yet sincerely attempted pursuit of justice. The poems work powerfully at the individual level and even more powerfully as a sequence to call attention to the scantiness of our knowledge of the history of African enslavement from any perspective but that of slave holders or legal documents and to question the assumptions about 'fact' and 'value' assumed by that perspective. Like reconstructed archaeological shards, Philip's poems give us pieces combined in different orders and to different effects, building a story in such disjointed terms that it implies the tale cannot be simply known or told. As Philip herself says, she is finding ways 'to not-tell"' the story of the Zong--just as Toni Morrison both relates Sethe's story in Beloved and declares 'This is not a story to pass on.'"--Cristanne Miller, Edward H. Butler Professor of Literature, University at Buffalo SUNY "Those still confused about why poetry might fracture and splinter and stutter can find an answer in the work of M. NourbeSe Philip. In Zong! she delves into the trauma of the plantation economy and allows her language to be shaped by the conflicts between telling and not telling, between naming and not naming that define the horrifying story of the slave ship Zong. This book is exceptional and uniquely moving."--Juliana Spahr, author of This Connection of Everyone with Lungs "Some poems roll off the tongue like a song and others like a cry for help."--Victoria Iglesias, Medium "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document she treats each page as a field, a canvas--more accurately, the sea."--Tyrone Williams, African American Review "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "[A]s Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding."--Kate Eichorn, XCP: Cross Cultural Poetics, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "M. NourbeSe Philip writes a poetry whose innovation--her spells of silence, her stuttering syntax--is not an abstract experiment but a form of mourning for African words prohibited by 'the ceremony of White in the elsewhere of time.'"--Zinzi Clemmons, Literary Hub "Some poems roll off the tongue like a song and others like a cry for help."--Victoria Iglesias, Medium "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document she treats each page as a field, a canvas--more accurately, the sea."--Tyrone Williams, African American Review "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "[A]s Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong! , the registers of silence that mark the text are resounding."--Kate Eichorn, XCP: Cross Cultural Poetics, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "[A]s Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding."--Kate Eichorn, XCP: Cross Cultural Poetics "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document ... she treats each page as a field, a canvas--more accurately, the sea."--Tyrone Williams, African American Review "Some poems roll off the tongue like a song and others like a cry for help." --Victoria Iglesias, Medium "M. NourbeSe Philip writes a poetry whose innovation--her spells of silence, her stuttering syntax--is not an abstract experiment but a form of mourning for African words prohibited by 'the ceremony of White ... in the elsewhere of time.'"--Zinzi Clemmons, Literary Hub, "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document." "Éshe treats each page as a field, a canvasÑmore accurately, the sea. The visual effect of viewing so many de-worded letters, de-sentenced words is astonishing; one seems to be looking at bodies in the ocean, their cries mere noise, sounds that only occasionally coalesce into words, phrases, sentences."ÑTyrone Williams, African American Review, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "M. NourbeSe Philip writes a poetry whose innovation--her spells of silence, her stuttering syntax--is not an abstract experiment but a form of mourning for African words prohibited by 'the ceremony of White in the elsewhere of time.'"--Zinzi Clemmons, Literary Hub "Some poems roll off the tongue like a song and others like a cry for help."--Victoria Iglesias, Medium "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document she treats each page as a field, a canvas--more accurately, the sea."--Tyrone Williams, African American Review "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."--Jill Magi, Poetry Project Newsletter "[A]s Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding."--Kate Eichorn, XCP: Cross Cultural Poetics, "...as Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding." -Kate Eichorn, XCP: Cross Cultural Poetics, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."-Jill Magi, Poetry Project Newsletter, "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document." "...she treats each page as a field, a canvas-more accurately, the sea. The visual effect of viewing so many de-worded letters, de-sentenced words is astonishing; one seems to be looking at bodies in the ocean, their cries mere noise, sounds that only occasionally coalesce into words, phrases, sentences.", ...as Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding., "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document." " she treats each page as a field, a canvas-more accurately, the sea. The visual effect of viewing so many de-worded letters, de-sentenced words is astonishing; one seems to be looking at bodies in the ocean, their cries mere noise, sounds that only occasionally coalesce into words, phrases, sentences."-Tyrone Williams, African American Review, "Nourbese-Philip cannot not 'create' a story, even against her own intentions to 'merely' document." "...she treats each page as a field, a canvas-more accurately, the sea. The visual effect of viewing so many de-worded letters, de-sentenced words is astonishing; one seems to be looking at bodies in the ocean, their cries mere noise, sounds that only occasionally coalesce into words, phrases, sentences."-Tyrone Williams, African American Review, "Éas Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding." ÑKate Eichorn, XCP: Cross Cultural Poetics, "…as Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding." -Kate Eichorn, XCP: Cross Cultural Poetics, At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen., " as Philip emphasizes, the story of the Zong is ultimately a story that can only be told by not telling. So even in the sea of words that fill up the final pages of Zong!, the registers of silence that mark the text are resounding." -Kate Eichorn, XCP: Cross Cultural Poetics, "At times I'm uncomfortable with both poetry and history, but then a book like Zong! comes along and reminds me how the lyric can shake up history's limited logics and history can shake up poetry's occasional evasive sheen."ÑJill Magi, Poetry Project Newsletter, "A brash, unsettling book, Zong! wants to chant or shout history down, shut history up. It not only laments and mimics history's unreason but, verisimilar and retributive both, deranges history, as if to reorder its linguistic protocols might undo or redo history itself. Fretful, possessed, obsessed, upset, curse and homeopathy, both, it visits a breathtaking run of glossolalic scat upon historical trauma."--Nathaniel Mackay, author of Bass Cathedral "Those still confused about why poetry might fracture and splinter and stutter can find an answer in the work of M. NourbeSe Philip. In Zong! she delves into the trauma of the plantation economy and allows her language to be shaped by the conflicts between telling and not telling, between naming and not naming that define the horrifying story of the slave ship Zong. This book is exceptional and uniquely moving.""--Juliana Spahr, author of This Connection of Everyone with Lungs " Zong! pushes its readers to understand the Zong incident in the complex contexts of both African spirituality, languages, and regions and the British (Western) slave trade and law, with its assumed racism yet sincerely attempted pursuit of justice. The poems work powerfully at the individual level and even more powerfully as a sequence to call attention to the scantiness of our knowledge of the history of African enslavement from any perspective but that of slave holders or legal documents and to question the assumptions about 'fact' and 'value' assumed by that perspective. Like reconstructed archaeological shards, Philip's poems give us pieces combined in different orders and to different effects, building a story in such disjointed terms that it implies the tale cannot be simply known or told. As Philip herself says, she is finding ways 'to not-tell"' the story of the Zong--just as Toni Morrison both relates Sethe's story in Beloved and declares 'This is not a story to pass on.'""--Cristanne Miller, Edward H. Butler Professor of Literature, University at Buffalo SUNY "A brash, unsettling book, Zong! wants to chant or shout history down, shut history up. It not only laments and mimics history's unreason but, verisimilar and retributive both, deranges history, as if to reorder its linguistic protocols might undo or redo history itself. Fretful, possessed, obsessed, upset, curse and homeopathy, both, it visits a breathtaking run of glossolalic scat upon historical trauma."--Nathaniel Mackay, author of Bass Cathedral
Dewey Edition
22
Dewey Decimal
811/.54
Table Of Content
Acknowledgments Os Sal Ventus Ratio Ferrum Ebora Glossary: Words and Phrases Heard on Board the Zong Manifest Notanda Gregson v. Gilbert
Synopsis
In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship's owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves--Zong tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten. Check for the online reader's companion at http: //zong.site.wesleyan.edu., A haunting lifeline between archive and memory, law and poetry In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship's owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves-- Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten. Check for the online reader's companion at http: //zong.site.wesleyan.edu., A haunting lifeline between archive and memory, law and poetry In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship's owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves-- Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten. Check for the online reader's companion at http://zong.site.wesleyan.edu.
LC Classification Number
PR9199.3.P456Z66

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