In this Book

summary
An astonishing debut, how to get over is part instruction manual, part prayer, part testimony. It attempts to solve the reader’s problems (by telling them how to get over), while simultaneously creating them—troubling the waters with witness and blues. ford’s poems witness via a series of “past life portraits” that navigate personal space as well as the imagined persona. These portraits conjure the blues via the imagined lives of the inanimate (a whip, a machete), the historic (a Negro burial ground, Harriet Tubman, The Red Summer), the iconic (Pecola Breedlove, Richard Pryor, Rodney King). At the same time, these portraits focus on the past lives of the author and grapple with themes including sexuality, sexual abuse, and substance abuse. The collection’s namesake poems speak to bullying and homophobia, blackness, whiteness and gentrification, and even directly address pop culture icons like Kanye West, Chaka Khan, and Nicky Minaj. Grounded in memory and re-memory, these poems pray in the voice of the ancestors and testify on their behalf. ford’s poems not only remind how the history and legacy of slavery placed African-Americans at an unfair disadvantage, but attempt to illuminate the beautiful struggle of a people’s endurance and resilience. The reader embarks upon a journey through these poems, circa 1787 to 2013, and emerges realizing that everything is connected—the ways we live, lie, love, and die—the ways we all get over.

Table of Contents

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  1. Half Title, Title Page, Copyright
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  1. Acknowledgments
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  1. Contents
  2. pp. 7-12
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  1. how to get over: Donyale Luna
  2. pp. 13-14
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  1. live
  1. black, brown, and beige (a movement in three parts)
  2. pp. 17-25
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  1. past life portrait: machete, circa 1791
  2. p. 26
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  1. past life portrait: whip, circa 1793
  2. p. 27
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  1. why a negro would miss a bus over chicken
  2. p. 28
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  1. past life portrait: circa 1787, Negroes Burying Ground, Lower Manhattan
  2. p. 29
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  1. ode to an African urn
  2. p. 30
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  1. how to get over
  2. p. 31
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  1. past life portrait: as tomboy, age 10
  2. pp. 32-33
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  1. lucky number 7 (or indications that i’d be a lesbian)
  2. p. 34
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  1. how to get over: for Kardin Ulysse
  2. pp. 35-36
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  1. how to get over: senior to freshman
  2. pp. 37-38
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  1. how to get over: for my niggas
  2. p. 39
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  1. how to get over: for Chaka
  2. p. 40
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  1. shock and awe
  2. p. 41
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  1. how to get over
  2. pp. 42-44
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  1. lie
  1. the answer
  2. p. 47
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  1. the beautiful people
  2. pp. 48-49
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  1. mercury retrograde
  2. p. 50
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  1. namesake
  2. p. 51
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  1. past life portrait: circa 1940, Lorain, Ohio
  2. p. 52
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  1. how to get over: for colored girls
  2. p. 53
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  1. how to get over: for white boys in the hood
  2. pp. 54-55
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  1. how to get over: for Kanye
  2. p. 56
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  1. wilding
  2. pp. 57-58
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  1. past life self-portrait: circa 1979, Atlanta
  2. p. 59
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  1. past life portrait: circa 1948, Peoria, Illinois
  2. p. 60
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  1. past life portrait: circa summer 1980
  2. pp. 61-64
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  1. love
  1. big bang theory
  2. pp. 67-68
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  1. Sister
  2. pp. 69-70
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  1. game recognizes game
  2. p. 71
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  1. hands
  2. p. 72
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  1. how to get over: for those of us who can’t quite quit her
  2. p. 73
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  1. honeysuckle, pussy, and random acts of nature
  2. p. 74
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  1. how to get over: Icarus as woman
  2. pp. 75-76
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  1. rock. and roll.
  2. p. 77
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  1. praise song for the sheets
  2. p. 78
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  1. l-o-v-e
  2. p. 79
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  1. blues
  2. p. 80
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  1. blk
  2. p. 81
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  1. death she deserved
  2. pp. 82-84
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  1. die
  1. stinky nigger bitch with a bush on her head
  2. p. 87
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  1. past life portrait: circa 1849, after Harriet
  2. p. 88
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  1. past life portrait: summer 1919
  2. p. 89
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  1. ars poetica
  2. p. 90
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  1. still life—color study
  2. pp. 91-92
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  1. bodega dreams
  2. p. 93
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  1. you ain’t seen nothing yet
  2. p. 94
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  1. brownboy dreams
  2. p. 95
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  1. past life portrait: Rodney King on Radio Raheem
  2. pp. 96-97
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  1. trouble man
  2. p. 98
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  1. homegoing
  2. p. 99
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  1. mourning (for fuck’s sake)
  2. pp. 100-101
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  1. autopsy of a not dead father
  2. pp. 102-103
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  1. past life portrait: circa 1989, for Uncle Mel
  2. pp. 104-105
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  1. bop: Miss Cleo can’t save you
  2. p. 106
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  1. how to get over: for Auntie Evon
  2. pp. 107-108
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  1. Notes
  2. pp. 109-111
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  1. Biographical Note
  2. p. 112
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