Fun, tragic and everything in between.

I mostly enjoy poetry, even though I don't always "get" it, and THE GHETTOBIRDS is no exception. ( )

The Ghettobirds is a vibrantly rhythmic collection of speculative poetry, showcasing cybernetic imaginings in an Afrofuturist explosion of life. Each poem relies on a rhythmic undercurrent of music, taking inspiration from the blues, rap, r&b, and the electronic in order to make the poems echo from one piece to the next. I'd find that even reading a few pieces, and then putting the collection down, would lead to my thoughts pitter-pattering in rhythm as if I were speaking poetry rather than thinking an average day's thoughts, and I can only imagine that so many of these poems would be even more powerful if spoken out loud from a stage, spoken word at its best.

I do think these poems work best as a collection, and some stood out more than others. There were some that demanded to be read and re-read immediately, with others feeling like they were just a little bit out of reach, and needed a touch more in order to be at all clear for the reader, but the gems in the collection made it well worth the read.

It's not a collection for all poetry readers, not quite as accessible as even I'd like, but it's a fun one. ( )

The Ghettobirds by Bryant O’Hara, a recent release from Philadelphia local publisher Frayed Edge Press, is an electrifying read that surprises at every turn. The Ghettobirds is a unique collection of Afrofuturistic speculative poetry centered around themes of resilience, adaptation, and transcendence, with a cast of reoccurring cybernetic beings called The Ghettobirds that dip in and out of the poems throughout. O’Hara draws from the natural and the artificial world to create a narrative that both explores a future and critiques a past and present from the strange perspective of both worlds.

The Ghettobirds spares no expense as it winds an eclectic grasp of language with an eccentric narrative — one that twists at its own whim. From the collection’s startling introduction in the form of “Bad Mother”, a chaos of devilish children and a play upon Humankind’s archaic, “I dare you” relationship to Mother Nature, and vice versa, to its musical and phonetically poignant conclusion in “The Needle, The Record”, O’Hara’s compiled work keeps the reader on their toes and outside of their own minds.

This collection’s strengths lie in O’Hara’s skill in threading together long sesquipedalian terms (“deoxyribonucleic”, “anaerobic”, “psychokinetic, and “kaleidoscopic” being among my favorites) into euphonious lines and stanzas, creating music out of the written word and sound that leaps off of the page. There is a rhythm that weaves throughout this strange collection, one that compels the reader eagerly forward even as they are not sure they have fully grasped the page before.

The Ghettobirds is not a collection one can absorb in one sitting. There is much to understand about the nuances that string together each poem into the wider scope of an eclectic narrative, if one approaches poetry to gain understanding at all.

A thrilling approach to speculative literature and a clear testament to the linguistic talent of O’Hara, with a rich narrative background and a deep commentary on the existence of humanity past, present, and future, The Ghettobirds was a thoroughly invigorating read and is highly recommended for fans of speculative literature, futuristic poetry, or those interested in discovering the realities of The Ghettobirds themselves. ( )

Disappointing. Great book title, and I was looking forward to the sci-fi angle, but the poems are not very good.