The latest in our FORTHCOMING series of excerpts from new and recent books.
there are trees. A tall one
that has shed all its leaves,
has its roots in my heart.
One, still bright with red
and orange, touches
the great loves of my life,
while a spruce, evergreen,
keeps me shamelessly naive.
there are no street ads anymore,
except for advertisements for death and patriotism.
this is our, no one else’s, autumn.
I’m a bit queasy from freedom,
from undercooked pasta with stew and raw water.
under artillery shelling
we are all as free as wheat,
as trees and birds,
(poetry/translations/Ukraine)
And in the immediate aftermath of the divorce, Real Adam understood that if ever there were a time to start again—to remake himself—it was now. Among friends, I took to calling my new experience Life 2.0. Like a software update.
(nonfiction)
Lamb’s ears plucked where
the stairs are, prairie
grass, steeple here, and
dandelion bends,
(poetry)
Angela was wearing her dress with the lowest neckline, which also luckily had pockets so she could keep her phone on and hidden and I could hear what was happening. That’s important—dresses having pockets. To women, I mean. That’s the kind of healthy relationship Angela and I have. I pay attention to which dresses have pockets.
(fiction)
The latest in our FORTHCOMING series of excerpts from new and recent books:
The mirror on the wall was a tall oval, and her head was not. She got closer. Her nostrils dotted the center. She tried a smile, as she had seen ladies do. No good. There was nothing looking back from the glass but the round head of her, the hair plain and dark.
(fiction)
I give her kisses, I wrap her up in my arms, and she relaxes a bit. I tell her how her hair falls just like mine. I know what it needs, I have spent years learning what it needs. I have spent each waking moment learning how to nourish her. Must I spend a lifetime proving that I can?
(fiction)
Despite what is written here, this memoir is not a political diatribe and it is not depressing. By relegating most of the political analysis and history, frequently derived from surprising direct quotes from people like Barack Obama, to footnotes and endnotes, Aziza skillfully preempts her well-crafted creative nonfiction from turning into political manifesto.
(reviews)
How long is a piece of string when all we’ve got is scissors?
(poetry)
If the sonnet really is the first lyric architecture built for the silent reader’s own mind, then an anthology gathering six centuries of its practice is not a museum of formal pleasure. It is a history of consciousness under compression.
(reviews)
