The poems of Reginald Shepherd's third book move among, mix, and manufacture stories, seeking to redefine the meaning of mythology. From the ruined representatives of Greek divinity (broken statues and fragmented stories), and the dazzling extravagances of predecessors like Hart Crane and Wallace Stevens, to the fleeting promises of popular music and the laconic demigods of the contemporary gay subculture, they sketch maps of a world in which desire may find a restless home. But desire leads the maps astray and maps mislead desire. The poems poems both enact language's powers to create a world and enforce the world's insistence (material, social, sexual, racial, historical) that mind (and body) surrender to circumstance. The struggle between these two halves that will never make a whole produces new myths of occasion,"packing the rifts/with sleeplessness, filling the gaps with lack." In that space between promise and deprivation,<i>Wrong</i> builds its song.

Reginald Shepherd (1963–2008) was a Black, gay poet who grew up in the Bronx and went on to receive two MFAs, one from Brown University and one from the Iowa Writers Workshop. He authored two collections of poetry criticism and six poetry collections, all published by the University of Pittsburgh Press:Red Clay Weather,Fata Morgana, Otherhood, Wrong, Angel, Interrupted, andSome Are Drowning. His work has been widely awarded and anthologized and has appeared in four editions ofThe Best American Poetry and two Pushcart Prize anthologies. Shepherd received many awards and honors over his career, including grants from the National Endowment for the Arts and the Guggenheim Foundation, among others.