By producing work that lectures but does not necessarily converse with its viewers, DinéYazhí offers visitors a taste of Native peoples’ colonial experience: forever on the receiving end of (often unsolicited) information, of change, of aggression.
“I think part of maturing as an artist is figuring out that the things that may have felt like a lack or an inadequacy can be strengths if you just double or triple down on them. Go all the way into the peculiarity and particularity of one’s own thinking.”
The last year and a half, since Trump’s poorly attended inauguration, has been anything but quiet; the apocryphal “may you live in interesting times” applies. It’s been hard to keep up! A lot has happened, especially on Twitter! How is one to make sense of the lunacy? Perhaps the Iliad can help.
“Idiophone is a dance between Fusselman and her reader; Fusselman is always fully leading, sometimes at a stately pace, but most often at one that is allegro, even allegro vivace.”
The Iraqi poet Dunya Mikhail’s new book of nonfiction, “The Beekeeper: Rescuing the Stolen Women of Iraq,” tells one aspect of this story: the kidnapping and enslavement of Yazidi women by Daesh. More specifically, The Beekeeper is about one man’s efforts to rescue these women through a network that he set up himself.