“Movies work,” Hannah Ensor’s speaker posits, “because we’ve forgotten // that even when someone is an antagonist / we’re not supposed to be happy / when they die. […] Because babies are cute and also terrifying. […] Many movies work because of romantic love.” One
Jacques J. Rancourt’s new chapbook In the Time of PrEP (Beloit Poetry Journal, 2018) is a stunning exploration of what it means to live as a queer man today “on the other side of catastrophe,” a generation after the AIDS crisis.
“Being alone with our thoughts and feelings is an act of self-possession. In the book, I definitely was exploring the idea that women can find strength in silence, particularly as a refusal to engage with what doesn’t serve them.”
“I was born into a Detroit that was the fourth largest city in the United States, one of America’s greatest and most important cities. I’ve been aware of its significance since I was a child. Detroit is infused throughout my work, and I mean infused: its physical and metaphorical geographies, in a large and evolving sense, are an integral part of my imagination.”
“The elements that dance in my head are always both visual and narrative. Whether they are expressed in painting or writing, the essence of what I am trying to convey is one in the same for me. They must derive from a place of truth and spark something of the imagination.”