Pushcart XLI: Jamila Woods, “Daddy Dozens” (poem) from Poetry, April 2015

My Daddy’s forehead is so big, we don’t need a dining room
table. My Daddy’s forehead so big, his hat size is equator. So
big, it’s a five-head. Tyra Banks burst into tears when she seen
my Daddy’s forehead. My Daddy’s forehead got its own area code.

Complete poem available online at Poetry

What a fun beginning: I did, in fact, laugh out loud, right there in the coffee shop where I read this, at the line about Tyra Banks. Guilty pleasures confession: I spent more time than I care to admit watching ANTM for a while there. But, like ANTM and everything else under the sun, the poem changes, and while the tone remains this loudmouth bratty teen dragging stock mocks down the page, a lot of truth gets mixed in along the way. We start to understand more about her Daddy, and by the end, we understand some of the loneliness the blustery humor can’t hide any more.

Woods has done poetry slams, musical albums (including a collaboration with Chance the Rapper). Considering how aural that is – and poetry itself is, of course, a spoken art, though it’s not always presented or perceived that way – I’m surprised how much the layout of this poem on the page contributed to its meaning. At first I wasn’t sure it was a poem; maybe the lines are sentences, just breaking at the margins like all paragraphs. But no, I don’t think so. The words are so dense on the page, not in a heavy or cumbersome way, but in a busy, fast-talking sort of way. The blank lines between stanzas give the reader a moment to readjust, the speaker a bit of time to weigh the options of going on or not. And that last line, isolated and alone, makes a perfect ending, visual, aural, and semantic aspects all focused as an underscore.

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