![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx52b5jKxaF1w-ugaERwTItR8Hd3FE6AIQCNou9Z0vSdYusggdG6_yN-KxVG8bbS0oKxSi0VtNok91m_b55cMfITiImqJ1BdgRnl7UwqnIvzJo4W_D4uVmGG6F5bOUNu3K2a3Z-kWv3FE/s1600/griffiths-racheleliza.jpg)
Over the last couple of years, Griffiths has also had a productive publishing career: Miracle Arrhythmia (2010), The Requited Distance (2011), and now Mule & Pear. Poets are fortunate to get a single book published every four to five years, but that Griffiths has 3 book-length volumes and a coupe of chap books in just the last couple of years is uncommon and impressive.
I imagine that we have large numbers of prolific writers whose poems never see publication. So, we might take note when a poet's productivity becomes public in a case like Griffiths's.
Of Griffiths's works, Mule & Pear has perhaps received the most attention so far. That might have to do with the fact that the book received more pre-publication promotions, the poet was becoming increasingly more known, and the news of her previous books have given her and her work more visibility.
I was drawn to Mule & Pear because it was mentioned that the book would contain persona poems, a mode of writing that really interests me. Since I teach African American literature, I was also fascinated by early announcements noting that Griffiths writes in the personas of well-known figures from novels by leading black women novelists such as Toni Morrison, Alice Walker, and Zora Neale Hurston.
Related
• Rachel Eliza Griffiths
No comments:
Post a Comment