Willie Perdomo – författare

Where a Nickel Costs a Dime captures the hip-hop rhythms and in-your-face intensity of the Nuyorican Poets Cafe, a downtown Manhattan club where the hottest young poets are finding their fame.Willie Perdomo's poems, in the tradition of Amiri Baraka, Langston Hughes, and Ntozake Shange, meet at the intersection of the street and the academy.The world in these piercing and heartbreaking poems is Spanish Harlem, "where night turns to day without sleep," where "Puerto Rico stays on our minds when the fresh breeze of cafe con leche y pan con mantequilla comes through half-opened windows and under our doors," where "babies fall asleep to the bark of a German shepherd," where "Independence Day is celebrated everyday," where "the police come into your house without knocking. They throw us off rooftops and say we slipped. They shoot my father and say he was crazy. They put a bullet in my head and say they found me that way."Blending images of street life, drugs, and AIDS against hope and determination, Willie Perdomo is a cutting-edge bard who speaks to the soul of his generation.

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNEXT celebrates the embodied narratives of Latinidad.  Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space.  Like Hip-Hop, we honor what was, what is, and what's next.

In the dynamic tradition of the BreakBeat Poets anthology, The BreakBeat Poets Vol. 4: LatiNEXT celebrates the embodied narratives of Latinidad.  Poets speak from an array of nationalities, genders, sexualities, races, and writing styles, staking a claim to our cultural and civic space.  Like Hip-Hop, we honor what was, what is, and what's next.

Smoking Lovely's explorations of poetry and the neoliberal city at the intersection of community and commodity. In this radically revised new edition, Perdomo shifts the poem into mostly second person, thereby further accentuating its self-reflexive and complex exploration of self-and/as-other, and of the simultaneous othering, commodification, and spectacularization of Afro-diasporic bodies and cultural forms.