Leila Chatti’s poems subvert the expectation that she, as a Tunisian American writer, write as “just” Tunisian or “just” American—or just as the Tunisian American writer for whom mixed identity itself is the chief subject and source of conflict in her work.
In Safia Elhillo’s 2017 poetry collection, both the historical figure of Abdelhalim Hafez and his personification seem to serve as an umbilical cord connecting the speaker to her heritage as she navigates the trauma of immigration.
Reading recent poetry collections by Solmaz Sharif and Aria Aber in concert, we see that Sharif’s serves as a project that inscribes the militarization of everyday language and its consequent normalization of violence—groundwork that allows for a radical project like Aber’s to exist.
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