Roger Reeves is an ecstatic poet, a poet of suffering transmuted into higher-order sound. Best Barbarian has the structure of a jazz number. The melody is the first twenty poems—starting with a whirling riff on Grendel and James Baldwin—then “Children Listen,” “Sovereign Silence, or The City,” “Echo: From the Mountain,” “So, Ecstasy” and others, each concerned with the nature of a kind of repeated or formal sound. Then comes the improvisation, the loosening spontaneity, which is section two, made up of two long poems as enriched by the Aeneid, Chaucer, and Dante as they are by the idea of a solo that tells a story. “Domestic Violence” is fierce but inquiring, in its seeing, in its sense of the hell that is a state that shoots down unarmed Black men.