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Senegal Taxi
By Juan Felipe Herrera
112 pp. / 6.00 x 9.00 / 2013
Paper (978-0-8165-3015-1)
  
Series
  - Camino del Sol

Related Interest
  - Poetry
  - Latina and Latino Studies


"I wish I could find the words to tell you the story of our village after you were killed." So begins Senegal Taxi, the new work by one of contemporary poetry's most vibrant voices, Juan Felipe
It's rare that a book of this kind is so moving and immediate. Herrera has the unusual capacity to write convincing political poems that are as personally felt as poems can be.

—Craig Morgan Teicher, NPR

While reporters can give you the what, when, and where of a war, a poet with the enormous gifts of Juan Herrera can give you its soul. He does this by giving us the voices of both sides. The Janjaweed, who boast about their horrible deeds, and those who are their victims. Among them children with no father, no mother, no food, and no water.

—Ishmael Reed

Three children, two insects, two weapons and a TV--these voices take us to the deathworld of Darfur in this masterful new work by California poet laureate Juan Felipe Herrera. With the Popol Vuh on his tongue, the author of Maya Drifter stretches out to a present day inferno of murder, dismemberment, underworld gods, where only the trickster lives to tell the tale. A beautiful and moving book.

—Mary Louise Pratt, author of Critical Passions: Selected Essays

Herrera. Known for his activism and writings that bring attention to oppression and injustice, Herrera turns to stories of genocide and hope in Sudan. Senegal Taxi offers the voices of three children escaping the horrors of war in Africa.

Unflinching in its honesty, brutality, and beauty, the collection fiercely addresses conflict and childhood, inviting readers to engage in complex and often challenging issues. Senegal Taxi weaves together verse, dialogue, and visual art created by Herrera specifically for the book. Stylistically genre-leaping, these many layers are part of the collection's innovation. Phantom-like televisions, mud drawings, witness testimonies, insects, and weaponry are all storytellers that join the siblings for a theatrical crescendo. Each poem is told from a different point of view, which Herrera calls "mud drawings," referring to the evocative symbols of hope the children create as they hide in a cave on their way to Senegal, where they plan to catch a boat to the United States.

This collection signals a poignant shift for Herrera as he continues to use his craft to focus attention on global concerns. In so doing, he offers an acknowledgment that the suffering of some is the suffering of all.


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