Since the publication of her first collection, The Water Between Us, Shara McCallum has steadily created a rich body of poems that have mined the rich deposit of emotional and intellectual capital found in her background of multiple migrations, culturally and geographically. McCallum's poems reflect her rooting in a Jamaican experience unique for her childhood in a Rastafarian home filled with reckless idealism, the potential for profound emotional pathology, and the grounding of old folks traditions. Her work has explored what it means to emerge from such a space and enter a new world of American landscapes and values. The Face of Water collects some of Shara Mccallum's best poems, poems that establish her as a poet of deft craft (and craftiness), whose sense of music is caught in her mastery of syntax and her ear for the graceful line.

A lyrical examination of loss and grief, Song of Thieves delves into issues of racial identity and politics, the immigrant experience, and the search for "home" and for family histories. McCallum artfully blends Jamaican patois, parables, songs, nursery rhymes, and other features of orality into her poems. She evinces an ear for the intrinsic music of poetry in this haunting and ambitious collection. Song of Thieves confirms her reputation as one of the most compelling new voices in American poetry.

Shara McCallum is the eighteenth winner of the Agnes Lynch Starrett Poetry Prize, one of the nation's most prestigious awards for a first book of poetry.

The Water Between Us is a poetic examination of cultural fragmentation, and the exile's struggle to reconcile the disparate and often conflicting influences of the homeland and the adopted country. The book also centers on other kinds of physical and emotional distances: those between mothers and daughters, those created by being of mixed racial descent, and those between colonizers and the colonized. Despite these distances, or perhaps Because of them, the poems affirm the need for a multilayered and cohesive sense of self. McCallum's language is precise and graceful. Drawing from Anancy tales, Greek myth, and biblical stories, the poems deftly alternate between American English and Jamaican patois, and between images both familiar and surreal.