By depicting the varieties of experience, from Hottentot Venus to Michelle Obama, Parker is able reclaim black womanhood as beautiful in its entirety. Parker’s brilliance is found in her ability to complicate the gaze on black womanhood. The images are often clear and direct and sometimes surreal, punctuated with social commentary, raw feelings, and wit. Her lyrical poems are often arranged in couplets, with occasional internal spacing to dramatize temporal and idea shifts. For Parker, there is no divide between what can and cannot exist as poetic language. And yet, Parker is also able to reach the elevated language of poetry, most directly by using works from the canon of fine art as the other main referents in her poetry. It is through popular culture that a shared experience is created it’s a way to bridge differences. One could list forebears: Gwendolyn Brooks, Frank O’Hara, Adrienne Rich, William Carlos Williams, even John Ashbery. from the book’s front flap: The only thing more beautiful than Beyonc is God, and God is a black woman sipping ros and drawing a lavender bath, texting her mom, belly-laughing in the therapist’s office, feeling unloved, being on display, daring to survive. Rather, her poems are concerned with specificity of both time and place, depicting the intimacies and intricacies of contemporary life as a black woman in America.
She doesn’t seem to be preoccupied with timelessness as such. popular culture has become a trademark of Parker’s work. The only thing more beautiful than Beyoncé is God, and God is a black woman sipping rosé and drawing a lavender bath, texting her mom, belly-laughing in the therapist’s office, feeling unloved, being on display, daring to survive. ""By acknowledging, if not embracing, imperfection, Parker allows the struggles and the messiness of life-with a particular focus on black womanhood-to breathe.
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