“All Black Everything proposes an expansive, global poetics, which is equally a poetics of Black diasporan fluency. All Black’s poems ride the crosscurrents of history and popular culture through African America, the Caribbean, West Africa, the United Kingdom, and Canada. As references whirl and constellate, All Black’s language grows dense and intricate. It gathers color and image. It acquires regional inflections, absorbs a riches of sound, and riffs on proverbial wisdom. The global reach of these poems works to collect and synthesize fragments of culture. Connections are established across time and distance. This synthesis happens as we read, and the rhythms of Black language and music become its measure.”—Kaie Kellough, author, Magnetic Equator

“Every rewind rewounds as Book’s book bars out (like breaks free). Reader, peep game— where game is play, prey, and how they stay laid down in an unsound system of robber-baron domination, post-Maria neglected Puerto Rico, (in)appropriation, and grief on grief on grief. Ergo: ‘Very hardcore business, man.’ All Black Everything left me syntaxed, thus spun as black wax under a needle; the poet on some Tender Buttons, but the buttons are on MPCs or 808s. Get it, get it. It’s ‘so good, God,’ Book leaves black ‘satchels stuffed with green.’ I pray on everything: should we meet in the lettuce aisles of ‘fully white-peopled cities,’ let us stay all Black fullness when we get there.”—Douglas Kearney, author, Sho