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As with other non-fictional accounts and ruminations on the Salvadoran civil war, Argueta is not afraid to look the violence and trauma of the war in the eye with Flesh Wounds: A Poetic Memoir.
Much of Earth is no longer habitable; still, the child reaches for the milk, the branch drinks from the root, and time goes on. You don’t remember when or where you heard it, but every so often you yearn for the reminder that the stars look very different today. And time goes on.
This month, I read work from both genderqueer and transgender writers. Inspired by recent tweets, blog posts, and press releases supporting works by these writers, it seemed a good opportunity to spotlight these three chapbooks.
There is no one way to tell a story and at the table. Some stories can be told with a map, a deck of cards, and a group of friends trying their best to build a civilization.
Pachinko is as much a story about money and prejudice as it about colonialism, war and globalization. Lee explores how politics effect the family unit, but more profoundly and perhaps perniciously, individuals’ sense of identity and self-worth that underpin their decisions.
I stumbled upon David Orr’s work through his piece “Why Is a Poet’s First Collection So Important?” published in the New York Times at the beginning of February. The Facebook preview of the piece featured pictures of poets Donika Kelly and Max Ritvo below that earnest headline.
The narrative surrounding climate change shares a number of surprising similarities to the Christian story. Developed in the shadow of an apocalypse, both present a set of ethical ideals that may be beyond human capacity to realize.
Edward P. Jones does not represent the Washington D.C. of the mainstream—no national monuments perforating his setting, no overt commentary on policy, no presidential-brand elitism lacing his words. Instead, he simply writes the life of the local everyman and pushes anything beyond that into the background, making excess as distant and flat as a souvenir postcard.
It could be argued that The Circle, Dave Eggers’ 2013 techno-satire of an all-powerful Faceboogle-type company, goes after some easy targets. After all, it’s common to bemoan the exhaustingly hyperconnected state of a society dependent on social media.
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