Search Results for “David Freeman” – Michigan Quarterly Review

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From the Archives: Seven Rooms

The poem is both tender and sinister, simply told and yet deeply bizarre. It is a poem seemingly about torture, affection, and the afterlife ambiguously titled “Seven Rooms,” and, though we decided not to include it in our upcoming Anniversary issue, I believe it still deserves some attention.

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The poem is both tender and sinister, simply told and yet deeply bizarre. It is a poem seemingly about torture, affection, and the afterlife ambiguously titled “Seven Rooms,” and, though we decided not to include it in our upcoming Anniversary issue, I believe it still deserves some attention.

David Freeman and Eduardo Corral Head Shots

Patterns and Breaking: A Conversation with Eduardo Corral

I think of poetry as a conversation that started way before me that I am now as a practicing poet, that you are joining as a practicing poet, that will continue without us.

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I think of poetry as a conversation that started way before me that I am now as a practicing poet, that you are joining as a practicing poet, that will continue without us.

Water color painting of blurred red roses

Devil Always Thought Pelagius Was a Second-Rate Christian

Why I Chose It: Michigan Quarterly Review Reader David Freeman introduces Charlie Clark’s poem, “Devil Always Thought Pelagius Was a Second-Rate Christian,” from our Fall 2020 Issue. When I read Charlie Clark’s virtuosic poem, “Devil Always Thought Pelagius Was a Second-Rate Christian,” I am conflicted. To be clear, I am not conflicted about the poem’s content — it is

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Why I Chose It: Michigan Quarterly Review Reader David Freeman introduces Charlie Clark’s poem, “Devil Always Thought Pelagius Was a Second-Rate Christian,” from our Fall 2020 Issue. When I read Charlie Clark’s virtuosic poem, “Devil Always Thought Pelagius Was a Second-Rate Christian,” I am conflicted. To be clear, I am not conflicted about the poem’s content — it is

Abdelgader Bader Headshot Smiling

Embrace the Sky: An Interview with Libyan Painter Abdelgader Bader

Fish are an important symbol in Libyan folk art and can be found as carpets and textile decoration throughout the Arab world. They are a symbol of renewal and a sign of abundant livelihood and fertility, and a good omen for the bearer. The red eye in the fish is a talisman to protect from envy and evil.

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Fish are an important symbol in Libyan folk art and can be found as carpets and textile decoration throughout the Arab world. They are a symbol of renewal and a sign of abundant livelihood and fertility, and a good omen for the bearer. The red eye in the fish is a talisman to protect from envy and evil.

Arthur Sze from the chest up. His face is serious. Behind him is the cover of his book "Sight Lines" with a red tint.

Assembling the Bones: A Conversation with Arthur Sze

I would say that that’s one of the mysteries of art. That sense of being seen. It’s one thing to notice something else, it’s another thing for the speaker to be noticed.

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I would say that that’s one of the mysteries of art. That sense of being seen. It’s one thing to notice something else, it’s another thing for the speaker to be noticed.

Meet Our Contributors | Issue 61:4 | Fall 2022

SADIA ABBAS is Associate Professor of Postcolonial Studies at Rutgers University–Newark and director of the Center for European Studies at Rutgers University–New Brunswick. She is the author of At Freedom’s Limit: Islam and the Postcolonial Predicament, winner of the MLA Prize for a First Book, and the novel The Empty Room, shortlisted for the DSC

Meet Our Contributors | Issue 61:4 | Fall 2022 Read More »

SADIA ABBAS is Associate Professor of Postcolonial Studies at Rutgers University–Newark and director of the Center for European Studies at Rutgers University–New Brunswick. She is the author of At Freedom’s Limit: Islam and the Postcolonial Predicament, winner of the MLA Prize for a First Book, and the novel The Empty Room, shortlisted for the DSC

MQR Issue 59:1, Winter 2020

Table of Contents Fiction Elisa Albert: Old Lady 2079 Samantha Edmonds: Collide Maria Gabriela Guevara: Passport Blair Hurley: The Falls Anie Onaiza: Our Lady of Rachel Jones Nonfiction Aaliyah Bilal: Easterly: Notes from a Black life in East Asia Sarah Fay: When the Happy Pill Ends Peter LaSalle: My New Literary Credo, Via Hanoi Kate

MQR Issue 59:1, Winter 2020 Read More »

Table of Contents Fiction Elisa Albert: Old Lady 2079 Samantha Edmonds: Collide Maria Gabriela Guevara: Passport Blair Hurley: The Falls Anie Onaiza: Our Lady of Rachel Jones Nonfiction Aaliyah Bilal: Easterly: Notes from a Black life in East Asia Sarah Fay: When the Happy Pill Ends Peter LaSalle: My New Literary Credo, Via Hanoi Kate

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