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July 23, 2013 /High Line, Summer Reading SeriesNew York, NYFrom the Academy Audio Archive

About this poet

On April 29, 1947, Yusef Komunyakaa was born in Bogalusa, Louisiana, where he was raised during the beginning of the Civil Rights movement. He served in the United States Army from 1969 to 1970 as a correspondent, and as managing editor of the Southern Cross during the Vietnam war, earning him a Bronze Star.

He began writing poetry in 1973, and received his bachelor's degree from the University of Colorado Springs in 1975. His first book of poems, Dedications & Other Darkhorses, was published in 1977, followed by Lost in the Bonewheel Factory in 1979. During this time, he earned his MA and MFA in creative writing from Colorado State University and the University of California, Irvine, respectively.

Komunyakaa first received wide recognition following the 1984 publication of Copacetic, a collection of poems built from colloquial speech which demonstrated his incorporation of jazz influences. He followed the book with two others: I Apologize for the Eyes in My Head (1986), winner of the San Francisco Poetry Center Award; and Dien Cai Dau (1988), which won The Dark Room Poetry Prize and has been cited by poets such as William Matthews and Robert Hass as being among the best writing on the war in Vietnam.

Since then, he has published several books of poems, including The Chameleon Couch (Farrar, Straus and Giroux, 2011); Warhorses (2008); Taboo: The Wishbone Trilogy, Part 1; Pleasure Dome: New & Collected Poems, 1975-1999 (2001); Talking Dirty to the Gods (2000); Thieves of Paradise (1998), which was a finalist for the National Book Critics Circle Award; Neon Vernacular: New & Selected Poems 1977-1989 (1994), for which he received the Pulitzer Prize and the Kingsley Tufts Poetry Award; and Magic City (1992).

Komunyakaa's prose is collected in Blues Notes: Essays, Interviews & Commentaries (University of Michigan Press, 2000). He also co-edited The Jazz Poetry Anthology (with J. A. Sascha Feinstein, 1991), co-translated The Insomnia of Fire by Nguyen Quang Thieu (with Martha Collins, 1995), and served as guest editor for The Best of American Poetry 2003.

He has also written dramatic works, including Gilgamesh: A Verse Play (Wesleyan University Press, 2006), and Slip Knot, a libretto in collaboration with Composer T. J. Anderson and commissioned by Northwestern University.

About his work, the poet Toi Derricotte wrote for the Kenyon Review, "He takes on the most complex moral issues, the most harrowing ugly subjects of our American life. His voice, whether it embodies the specific experiences of a black man, a soldier in Vietnam, or a child in Bogalusa, Louisiana, is universal. It shows us in ever deeper ways what it is to be human."

Komunyakaa is the recipient of the 2011 Wallace Stevens Award. His other honors include the Ruth Lilly Poetry Prize, the William Faulkner Prize from the Université de Rennes, the Thomas Forcade Award, the Hanes Poetry Prize, fellowships from the Fine Arts Work Center in Provincetown, the Louisiana Arts Council, and the National Endowment for the Arts.

He was elected a Chancellor of the Academy of American Poets in 1999. He has taught at University of New Orleans, Indiana University, as a professor in the Council of Humanities and Creative Writing Program at Princeton University. He lives in New York City where he is currently Distinguished Senior Poet in New York University's graduate creative writing program.


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Requiem

Yusef Komunyakaa, 1947

 

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Yusef Komunyakaa

Yusef Komunyakaa

Poet Yusef Komunyakaa first received wide recognition following the 1984 publication of Copacetic, a collection of poems built from colloquial speech which demonstrated his incorporation of jazz influences

by this poet

poem

The hills my brothers & I created
Never balanced, & it took years
To discover how the world worked.
We could look at a tree of blackbirds
& tell you how many were there,
But with the scrap dealer
Our math was always off.
Weeks of lifting & grunting
poem
Was he looking for St. Lucia's light
to touch his face those first days 
in the official November snow & sleet 
falling on the granite pose of Lincoln?
 
If he were searching for property lines
drawn in the blood, or for a hint
of resolve crisscrossing a border,
maybe he'd find clues in the taste of
poem
I made love to you, & it loomed there.
We sat on the small veranda of the cottage,
& listened hours to the sea talk.
I didn't have to look up to see if it was still there.
For days, it followed us along polluted beaches
where the boys herded cows 
& the girls danced for the boys,
to the moneychanger