ethnicity – Michigan Quarterly Review

ethnicity

installation of the georges pompidou centre in paris

Diasporic Intimacies: On Reading “Go Home!”

This absence of certitude about home—what it is, where it is, whether it is a noun or a verb, a being or a becoming—runs through the various essays, fictions, and poems that Buchanan collects in the Go Home! anthology.

Diasporic Intimacies: On Reading “Go Home!” Read More »

This absence of certitude about home—what it is, where it is, whether it is a noun or a verb, a being or a becoming—runs through the various essays, fictions, and poems that Buchanan collects in the Go Home! anthology.

“Hava Nagila,” by Naira Kuzmich

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Before I tell you about the strange night I danced to “Hava Nagila” in a bar in Berlin, I have to admit that I think about this night often, and I think about it on two different occasions.

“Hava Nagila,” by Naira Kuzmich Read More »

Before I tell you about the strange night I danced to “Hava Nagila” in a bar in Berlin, I have to admit that I think about this night often, and I think about it on two different occasions.

A Field Guide to the Yi-Fen Chou Case and Identity Politics in the Arts

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Good poetry is good poetry because of who wrote it. If you want to get fancy about it, it’s an index of the culturally defined experiences of the author and the ways that author has taken agency within them, has interacted with his or her own received cultural and historical condition. Poetry isn’t good simply because it has kickass slant rhyme or wicked trippy imagery but because it employs those techniques mimetically to engage heritages and traditions that constitute the wisdom—and oppressions—of most acute concern at a given historical moment.

A Field Guide to the Yi-Fen Chou Case and Identity Politics in the Arts Read More »

Good poetry is good poetry because of who wrote it. If you want to get fancy about it, it’s an index of the culturally defined experiences of the author and the ways that author has taken agency within them, has interacted with his or her own received cultural and historical condition. Poetry isn’t good simply because it has kickass slant rhyme or wicked trippy imagery but because it employs those techniques mimetically to engage heritages and traditions that constitute the wisdom—and oppressions—of most acute concern at a given historical moment.

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