BOA Editions

April 2016

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Derrick Austin’s stunning debut, Trouble the Water, gives readers unique insight on what it means to be a queer, black man in today’s world. He navigates the complicated worlds of race, sexuality, and religion with such fearlessness that we as readers can’t turn away even if we wanted to. Mary Szybist, in her forword, writes that that fearlessness begins with the book’s title, and she’s right. Before we even see the first page, Austin lets us know that this is not a book to be read passively. Rather, Trouble the Water is both a title and a command, a command for us to trouble both society’s waters and our own.

One of the most striking aspects of Trouble the Water is the graceful way Austin weaves sexuality and religion together, so much so that at times they are one and the same thing. Sex and God are both equal and opposite, drawing Austin’s speakers in and also forcing them to turn away. Heaven is another’s lips. One poem, called “Devotions,” is an ode to a lover. Often poetry about sex or religion takes an obvious standpoint, either on one side of the line or the other, but Austin’s poetry makes the reader think, hard, about what it is we believe in, particularly on the subject of LGBTQ issues. Sexuality and religion are separate issues that have been so convolutedly twisted together in today’s society that it’s hard to see them coexisting, but Austin attempts to show us that they can.

The other prominent theme in Trouble the Water is race. In the poem “Blaxploitation,” every line ends with the word “black,” forcing the reader to confront that, for a person of color, blackness is something that is ever-present rather than something which exists only when it’s convenient. Then there are times when Austin writes about race as if it’s an afterthought, balancing the ideas that race is both a massive part of people of colors’ lives and at the same time is merely a descriptive factor.

An interesting tool that Austin utilizes throughout all his poems, whether they focus on race, sexuality, or religion, is to use art as a descriptor and comparative factor. Many of his poems are set in museums, others inspect God and Christ through paintings. The poem “Breakwater” is theimagined story behind a photograph. Paintings and photos and music are not separate from our humanity; they are our humanity.

Austin tackles the difficult task of being both hauntingly amusing and utterly serious, making the reader feel hope and joy and sorrow all at once. He makes us rethink old assumptions and reminds us that we have the power to change what we think we know. Religion can evolve to fit today’s society. Love is complicated. Race is too. In the end, though, we’re all essentially the same, just people trying to live our lives free from fear. In “Torch Song,” the speaker says, “when I open my arms to the crowd and mouth / the night’s first note, I don’t sing; you singe,” and I think that line embodies Trouble the Water. Austin sings to us in a way that makes the reader feel uncomfortable, on fire.

Austin is an important voice in poetry. His book comes at a time when it is becoming more and more difficult to ignore the social injustices these communities face. Trouble the Water is not justthe title of Austin’s book; it is a command. The only question now is whether or not we will listen.