Yusef Komunyakaa

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Yusef Komunyakaa was born in Bogalusa, Louisiana. He earned a BA from the University of Colorado Springs on the GI Bill, an MA from Colorado State University, and an MFA from the University of California-Irvine. Komunyakaa’s early work includes the poetry collections Dedications & Other Darkhorses (1977) and Lost in the Bonewheel Factory (1979). Widespread recognition came with the publication of Copacetic (1984), which showcased what would become his distinctive style: vernacular speech layered with syncopated rhythms from jazz traditions. His next book I Apologize for the Eyes in My Head (1986) won the San Francisco Poetry Center Award; Dien Cai Dau (1988), a book that treated his experience in the Vietnam War in stark and personal terms, won the Dark Room Poetry Prize. It is regularly described as one of the best books of war poetry from the Vietnam War. Komunyakaa’s Neon Vernacular: New and Selected Poems (1994) won the Kingsley Tufts Poetry Award and the Pulitzer Prize. Komunyakaa's other works include Warhorses (2008); Taboo: The Wishbone Trilogy, Part 1 (2006); Pleasure Dome: New & Collected Poems, 1975-1999 (2001); Talking Dirty to the Gods (2000); and Thieves of Paradise (1998), which was a finalist for the National Book Critics Circle Award. His most recent collections of poetry include The Chameleon Couch (2011), Testimony: A Tribute to Charlie Parker (2013), Emperor of Water Clocks (2015), and Everyday Mojo Songs of the Earth (forthcoming). He is the author of the verse play Gilgamesh: A Verse Play (2006) and in collaboration with composer T.J. Anderson the opera libretto Slip Knot. In 2011 Komunyakaa was awarded the Wallace Stevens Award. He is the recipient of numerous honors and awards including the Ruth Lilly Poetry Prize, the William Faulkner Prize from the Université de Rennes, the Thomas Forcade Award, the Hanes Poetry Prize, and fellowships from the Fine Arts Work Center in Provincetown, the Louisiana Arts Council, and the National Endowment for the Arts. He served as Chancellor of the Academy of American Poets from 1999-2005. He has taught at numerous institutions including University of New Orleans, Indiana University, and Princeton University. Currently he serves as Distinguished Senior Poet in New York University’s graduate creative writing program. Source

Facing It

My black face fades,   

hiding inside the black granite.   

I said I wouldn't  

dammit: No tears.   

I'm stone. I'm flesh.   

My clouded reflection eyes me   

like a bird of prey, the profile of night   

slanted against morning. I turn   

this way—the stone lets me go.   

I turn that way—I'm inside   

the Vietnam Veterans Memorial

again, depending on the light   

to make a difference.   

I go down the 58,022 names,   

half-expecting to find   

my own in letters like smoke.   

I touch the name Andrew Johnson;   

I see the booby trap's white flash.   

Names shimmer on a woman's blouse   

but when she walks away   

the names stay on the wall.   

Brushstrokes flash, a red bird's   

wings cutting across my stare.   

The sky. A plane in the sky.   

A white vet's image floats   

closer to me, then his pale eyes   

look through mine. I'm a window.   

He's lost his right arm   

inside the stone. In the black mirror   

a woman’s trying to erase names:   

No, she's brushing a boy's hair.

Published:

1988

Length:

Regular

Literary Movements:

Surrealism

Anthology Years:

2020

2023

Themes:

Death & Loss

Police Brutality

Politics

Racial Injustice

Violence & War

Literary Devices:

Juxtaposition

the fact of two things being seen or placed close together with contrasting effect

Metaphor

a comparison between two unrelated things through a shared characteristic

Personification

the attribution of human qualities to a non-human thing

Sensory Detail

words used to invoke the five senses (vision, hearing, taste, touch, smell)

Simile

a comparison between two unlike things using the words “like” or “as”