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When news of the executive order on immigration broke last week, I was looking at a photograph of Sojourner Truth. The picture had been open on my desk for days—an object of an essay I’m writing—and its content struck a particular and heartrending chord.
For the past six months, I’ve been living in Prague—a small but fierce city in Central Europe where despite the cumulative oppressions of Nazi occupation and decades of isolation and communist rule, residents still maintain a well-developed sense of irony. Monitoring the (Anglophone) news from the self-exile of Prague imbues the headlines, it seems, with more gravity.
In the days after the U.S. presidential election last month, people became sick. Friends, colleagues, and mere acquaintances narrated their symptoms.
Sinking down the basement steps of the Palais Porte Dorée in Paris is to find it much as it was in its inaugural year. The hulking Art Deco palace was a centerpiece of the 1931 Colonial Exposition—a World’s Fair-type undertaking meant to reinvest French citizens of the interwar period in the “civilizing mission” of their brutal land-people-and-resources grab across Africa, the Caribbean, the Middle East, Asia, and Pacifica.
A life of reading often produces the waking sensation that you have seen a ghost. The spectrum of your experiences multiply, your emotional range balloons, you experience déjà vu by virtue of the lives you’ve lived, shared, or been privy to on the page.
Lately, I spend a lot of time gazing out my window. In quiet moments with a cup of coffee and the whole day unspooling before me, I sit on the ledge looking at the street below and think of Alicia Ostriker’s poem, August Morning, Upper Broadway.
I reread Sylvia Plath this summer on a fairly remote island off Ireland’s Connemara coast. Plath had been there once in September of 1962. She and Ted Hughes accepted an invitation from the Irish poet, Richard Murphy, to visit him at his home in the country’s heralded west.
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