Poet Bahar Orang’s “On Poetry” is a lyric interrogation of poetry’s place in the class struggle, asking “Can poets own guns?” // “Can poets own property?”
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Poet Bahar Orang’s “On Poetry” is a lyric interrogation of poetry’s place in the class struggle, asking “Can poets own guns?” // “Can poets own property?”
Read MoreAmsterdam-based poet Kelly Mullins’s “here, taste this” is a love poem whose central conceit is the labor of cooking – an act against “the red bottle bourgeoisie” who “doesn’t know what it means to prepare a feast / from a pinch of salt & intuition alone”
Read MoreIn “buried who I was in a yard I no longer have access to,” poet Erin Taylor examines the personal and political fallout from our “collapsing modernity.”
Read MorePoet [sarah] Cavar’s “Diagnostician’s Note” meditates on madness and the body, warning “You are not immune // To conceptual frameworks. Not even / The ones that bring out // Your eyes.”
Read MoreIn “Cale-se,” poet Leticia Priebe Rocha explores the sonic landscape of Brazil’s military dictatorship (1964-1985) and the musicians who “launched an inhuman scream” against it.
Read MoreIn “Trash Day Triptych of the Material,” poet stevie redwood explores San Francisco’s immense landscape of waste and the exploited workers who collect it.
Read MoreIn “how to interpret season as range,” poet Kinsey Cantrell explores how chronic illness and medical bureaucracy intensify the miserable cycle of wage labor and debt.
Read MoreIn “Feel Good Lyric,” poet Wendy Trevino narrates the tangled logic of San Francisco’s housing market and its collusion with racialized state violence.
Read MorePart of a larger sonnet sequence based on the pre-Columbian myth of El Cipitio, William Archila’s untitled poem explores Salvadoran history and the scholars who distort it.
Read MoreIn “Ballad of saltwater children,” poet Sarpong Osei Asamoah illuminates the histories of the Akan people and their long struggle against the “borderless noose” of racial capitalism and ecological violence.
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