The very first line of “In the City of Tenderness and Desperate Promises,” the official opening poem in Aaron Coleman’s evocative and blistering Red Wilderness is this: “Punctured in the soft hour, we tried a new way home . . .” That unproven path winds “all up in through here,” past mudglut banks, trees ripped with ghosts, Red Lick and St. Louis, rain-pelted ruins and through America’s slick and murderous landscape—and straight toward the tumult and testimony of Black days, both here and behind us. On the way to “home and never home,” these keen and luminous poems chronicle what is ultimately a way for Black folks to thrive in the midst of storm.
—Patricia Smith
The ancestral song of Aaron Coleman rings true in Red Wilderness, clearing a way for us to see up ahead. There’s the legacy of family and of the community we build outward, and then there’s the wilderness, that country, around us all, which Coleman maps out, showing us “what is true but nameless,” and that which “knows no beginning or end.” Whether he offers a reverie from a crooner, “somewhere smiling, / as new friends glide together,” or we fall into, “a black boy’s body . . . a language sculpted out of silence,” what’s clear is that Coleman is a cartographer of our sensibilities, our fears, and our hopes for a space we can call our own.
—A. Van Jordan
With linguistic precision and a tenderness that not only brings places, times, and people to life, but also demands that you, the reader, cares for them, Aaron Coleman offers us a massive achievement with Red Wilderness. Inventive, direct, and stunning in approach, its greatest achievement, to my eye, is the transportative nature of it. “A black boy’s body is a language sculpted out of silence,” Coleman writes, and you might, perhaps, know the boy, or know the body, or know the silence, or know all three. For this, more than anything, Red Wilderness is an incredibly generous offering. One that will echo through my world for years to come.
—Hanif Abdurraqib