After watching the world-premiere dance adaptations of her poems from The Surrender Tree, Engle delivered the following keynote to the packed audience in attendance, which included several hundred high school students from the surrounding community.
A couple finds their hired tour guide more sage for hire—like Socrates, an ambulatory pedagogue.
Though the feminist response to the war on women had been building in Mexico for years, in 2019 it reached a boiling point. If what was known about gender violence had been a portolans—the medieval map that only outlined the coast—the individual stories of women were now providing the dreadful details of the inland.
“The boy is in his room, on his computer, and she’s at ease because she knows he won’t hear glass breaking or shelves falling.” from “Lalalà,” by Bel Olid.
“A profound and irreparable sadness poured over me. In what moment could I have changed so much? This didn’t happen overnight.” from “The Other Woman,” by Bibiana Camacho
“All of a sudden, when you catch your breath, what’s left is to ask yourself what-all happened. What’s become of it all. Where’d it all go. Where are all those epics you hoped to pen, or the novels.” from “Vocations,” by Miguel Gomes
An interview with multifaceted Rojava writer Taha Khalil, as he worked both in Qamishlo, Rojava, where he continues to reside, and in the Duhok Province of neighboring Iraqi Kurdistan, where he is presently working as the art director for a film directed by his brother, the prominent Kurdish filmmaker Mano Khalil.
Contributing editor Erik Gleibermann interviews Sarah Ladipo Manyika on the different ways that Nigerian, British, and American readers experience the literary weave of race, culture, nationality, and history in her novel, In Dependence.
Keija Parssinen interviews Leila Aboulela, a Sudanese-born writer who moved to Scotland in her mid-twenties and now resides there, where she writes her critically acclaimed fiction in English.
“the human soul is contemptible, leviathan. you better hang in my dark face.” from “to hide here and kiss a beloved is not sin enough,” by Merve Çanak
“The young man who knelt on the edge of the asphalt/ The young man whose hands were tied behind him / The young man who was dreaming of sparrows / Before being shot in the head,” from “Execution,” by Taha Khalil
“I learned the common wheat / as my future / and past, and wised / to the low-lying sameness / that appeared as the mantle / of time / digging in,” from “Parallels,” by Lauren Camp