This is a physical reminder of the poet’s prolific output and her claim to be counted among the Black Arts Movement’s defining voices, belatedly shelved beside her peers, where she always should have been. The volume is the first effort of its kind, bringing together a body of work previously dispersed across the poet’s own self-published chapbooks and broader anthologies.

Charles Burnett’s 1999 film—newly restored in 35mm and 4K—asks if love can articulate itself across deep histories of oppression and asymmetry.

This collection markedly departs from conventions of its namesake, abandoning history as a systematic study to instead embrace it as a palimpsest. But what makes this compendium so enticing is that its authors actually seem entirely untethered by those traditions of dance writing rooted in ethnography that they functionally oppose.