![]() ![]() ![]() The photograph says something about capitalism, but it says even more about dreaming. ![]() We are left only with the woman herself-her posture a gesture toward her vast dreams and desires, which we may behold but cannot fully know. If an object in the store catalyzed her imagination, its identity eludes the camera’s capture. Standing on a populated Mississippi sidewalk in the 1930s, she nonetheless seems shrouded in something private, entirely of her own making. ![]() The title is “Window Shopping,” but we can’t see the objects encased in glass-only a slim, sundressed black woman facing the display, one hand on her hip and the other on her chin. The cover of Voyage of the Sable Venus, Robin Coste Lewis’ stunning debut poetry collection-which won the 2015 National Book Award-features an elegant sepia photograph by Eudora Welty. There are a host of poetry collections that challenge that old adage-don’t judge a book by its cover: Claudia Rankine’s Citizen (2014), Bhanu Kapil’s Ban en Banlieue (2015), and Nate Marshall’s Wild Hundreds (2015) are but a few recent releases that are as gorgeous as objects as they are powerful in language. ![]()
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