Reviewed by: Forms of Contention: Influence and the African American Sonnet Tradition by Hollis Robbins Peter Howarth Hollis Robbins. Forms of Contention: Influence and the African American Sonnet Tradition. Athens: U of Georgia P, 2020. 264 pp. $32.95. In 2018, Hollis Robbins went to hear poet Natasha Trethewey give a prestigious lecture. Trethewey spoke about her mixed-race family, the "racial determinism" of her Southern upbringing, and her fondness for the sonnet, a "received European form" (2). Preempting the inevitable criticism that such forms are endemically white, privileged and male, Trethewey quoted Audre Lorde's warning that the master's tools could be never used to dismantle the master's house, but then added that in her own writing life, "I have turned to such forms to contain the subject-matter necessary to challenge the master narrative." After the applause, Robbins asked a question: "How many sonnets have to be written before someone says she received the form from a Black poet?" (2). Trethewey was silent, and then acknowledged that for her, the sonnet had indeed come from Gwendolyn Brooks, not from Europe. Forms of Contention argues that this has been true for a good while. The sonnet is no longer a form borrowed from Europe or white America but is instead one Black writers now own themselves, given the superb sonnets and sequences written by Brooks, Margaret Walker, Robert Hayden, Terrance Hayes, Marilyn Nelson and Trethewey herself. It also maintains that a distinct Black sonnet-writing tradition has been there all along but has been lost by the nineteenth-century newspaper, the anthologies of the twentieth century, and the late modernism of the Black Arts movement. The result is that a sonnet like Claude McKay's "If We Must Die" is never considered "representative" of influential Black poetry the way Langston Hughes is, and the great number of Black sonnets in newspapers and anthologies are overlooked as inauthentic and genteel. "Too many ancestors have been forgotten," Robbins writes, "too much nineteenth- and twentieth-century poetry was banished from the Black poetry canon in the 1960s because it was too 'traditional'" (2). Forms of Contention aims to correct this act of selective memory on both counts. It wants to recover the Black sonneteers from the eighteenth-century onward, and to show that their work forms an authentic tradition of influences, inheritances and rewritings, a multigenerational chain of sonnets. It succeeds admirably at the first task, but to find a "distinct genre" (118) of the African American sonnet is harder work, historically. This is not because Black poets have not brilliantly wrested the form into shapes that express distinctly African American situations and struggles. Robert Hayden's boundary-bursting sonnet "To Frederick Douglass" or Gwendolyn Brooks's "Gay Chaps" sequence about the US Navy officers penned below decks and their fiancées hemmed in at home are among the best sonnets ever written, without doubt. But the act of adapting the sonnet's pleading to new causes is also part of its tradition. Petrarch made the sonnet famous with his addresses of sexual desire and thwarted ambition, but those appeals were soon transformed into wrestlings with God, or demands for political honor to be restored, or from Milton onward, for both. Wordsworth and Southey took over Milton's enjambed lines and used them to thunder against slavery itself. In that sense, African American poets have been fully traditional from the start, Phillis Wheatley's 1768 appeal to King George: Great God, direct, and guard him from on high,And from his head let every evil fly!And may each clime with equal gladness seeA monarch's smile can set his subjects free! [End Page 242] Scholars debate the degree to which her blessing of the King for repealing the hugely unpopular Stamp Act (a tax paying for British troops in the colonies) contains a plea for other kinds of freedom. But given Wheatley's captive status, to write a sonnet to God and the sovereign at all gave the genre new vigor by giving it a new range of causes to plead. The trickier task that Forms of Contention has set itself, though, is to find a self-aware...