Megan Milks traces the origins of their queer and trans identity in a coming of age memoir about trading Tori Amos bootlegs at the dawn of the internet age. Anyone who logged onto the internet in the mid-nineties, whether through AOL or a service like CompuServe or Prodigy, engaged in the practice of authoring oneself. …
“Death in general elicits questions, the most invasive of which is how?” writes Onyi Nwabineli in Someday, Maybe. Eve Ezenwa-Morrow, the novel’s protagonist, has lost her husband, Quentin Morrow, to suicide. After his death on an undated New Year’s Eve, she is so pinioned by the resulting grief that a new persona emerges: an “Eve …
A Loud Grief: A Review of Onyi Nwabineli’s Someday, Maybe Read More »
I used to think long poems—and books mainly consisting of long poems—were inherently more difficult than short poems and collections thereof. I thought that making one’s way through something truly long constituted a sort of badge of honor, if only a badge of perseverance. But now I’m less certain that long poems are necessarily more …
A Reconciliation with the External World: Timothy Donnelly’s Chariot Read More »
Assemblage is a danger. Artists, poets, immigrants, outsiders, and insiders—to gather is to think, to subsist off bounce-backed ideas, language, identity. To assemble is to resist abidance. To birth that which is new, to resist, to polish that which is worn-out. Why the Assembly Disbanded by Roberto Tejada endeavors to assemble the heart of assemblages; …
I Assemble, I Am: A Review of Roberto Tejada’s Why The Assembly Disbanded Read More »
H.R. Webster’s What Follows is a book of abolitionist love poems. It’s about the long fight of love, elegiac love, about loving the rough, bruised contours of love, about the shedding of systems that are not love. What makes us good, Webster argues, is not our purity or our fear. These poems make room for …
