Two Figures on a Bridge
As a child I’d ask my father
why though still awake
he closed his eyes.
Two Figures on a Bridge Read More »
As a child I’d ask my father
why though still awake
he closed his eyes.
Cuba
From Reinaldo Arenas: A Memoir of 1974
I’m writing this on Monday the 16th. I hear a motor outside; is it them? I write because I want these things to be known. If something should happen to me, it’s important that people know what happened and how.
From Reinaldo Arenas: A Memoir of 1974 Read More »
By Juan Abreu
I’m writing this on Monday the 16th. I hear a motor outside; is it them? I write because I want these things to be known. If something should happen to me, it’s important that people know what happened and how.
“A New Yorker from Canaguey”: Notes on Emilio Sánchez, MQR’s Summer 2019 Cover Artist
Former Curator of University of Michigan’s Museum of Art, Pam Reister, writes on the Cuban artist Emilio Sánchez, who is the cover artist of Michigan Quarterly Review’s current Summer 2019 issue. Emilio Sánchez was born into one of Cuba’s most prominent families. He lived in privilege on his grandfather’s plantation in Camaguey until he was
“A New Yorker from Canaguey”: Notes on Emilio Sánchez, MQR’s Summer 2019 Cover Artist Read More »
By Pam Reister
Former Curator of University of Michigan’s Museum of Art, Pam Reister, writes on the Cuban artist Emilio Sánchez, who is the cover artist of Michigan Quarterly Review’s current Summer 2019 issue. Emilio Sánchez was born into one of Cuba’s most prominent families. He lived in privilege on his grandfather’s plantation in Camaguey until he was
The Wall
At her back, the sword. At her feet, the ravine./Impossible to advance. To turn back. Impossible.
At her back, the sword. At her feet, the ravine./Impossible to advance. To turn back. Impossible.
“Fronterislena,” Border Islander
I was literally looking at life from la margen (the bank, the shore). I have always wanted to use the feminine gender form of margin in Spanish, the irregular line where land meets water, rather than the masculine one, which is an irrevocably peripheral band of terrain, edges outside the body of words on a page.
“Fronterislena,” Border Islander Read More »
I was literally looking at life from la margen (the bank, the shore). I have always wanted to use the feminine gender form of margin in Spanish, the irregular line where land meets water, rather than the masculine one, which is an irrevocably peripheral band of terrain, edges outside the body of words on a page.
