AlsoHis face is now on the building. There’s a brightly colored mural on East Main StreetIt is located near his home and looks almost like it sparkles at night.
“I’m visible enough for three lifetimes at this point,” Abdurraqib said. “At least for my own good, for what I can emotionally handle.”
WhenHe says he likes to mind his own business, he explained, he’s describing an effort to preserve his mental and emotional energy, keeping his focus tight because he has trouble just dipping a toe into something. Recently, for example, he realized he had never had s’mores, and since he has a fire pit in front of his house (he had the grass taken out because he didn’t want to mow it), he decided it was time to try them. So he Googled the best way to make to make s’mores. ThreeHe noticed that it was getting dark a few hours later.
“The best parts of my work hone that impulse and thread it through some, hopefully, nuanced and clear articulation of narrative,” Abdurraqib said. “But the part that people don’t see is the s’mores situation.”
HisThese essays and criticism are also infused with memoir, social commentary and pop culture. And, of course, poetry. Even the structure of his books sometimes take a poetic slant, like a chapter in “A Little Devil In America” called “FearA Crown,” where the last line of each stanza echoes the first line of the next.
“Little Devil” is a book of celebration, but it began as one about the cultural appropriation of Black performance. RoughlyIt was written halfway through. AbdurraqibHe said that he was able to see the need for him to concentrate on elevating the work he enjoyed so much.
Source: NY Times