All we really had for an idea was “what if there was a weird place where cows could talk?” It’s funny to look back at the initial seeds we planted and how much the project has exploded since then.
I think that language, for many people of diaspora, is certainly and can be a source of both loss and regeneration.
It’s like my little poem is the concatenation of multiple tiny decision-making processes that both solicit and elude tracing, by the reader or by me.
I want to have hope, but I’m also suspicious of all hopeful things. [Laughs.]
There’s a way in which trauma exerts pressure both on our bodies and psyches as well as on our relationship to objects, places, and things.
A novel isn’t a painting, it’s language that’s been organized until it has the power to bombard pleasurably. The premise that ‘showing’ is somehow more respectful to a reader than ‘telling’ is illogical nonsense.
The longer you stare into skateboarding the less choice you have but to embrace a broader definition of the term.
Sometimes I stop typing and listen. I keep quiet and I listen. And they talk; I hear them.
Gavin Van Horn, Robin Wall Kimmerer, John Hausdoerffer (Part 2)
When you anthropomorphize, you give human traits to simplify complex beings out of a laziness of not fully understanding them.
Gavin Van Horn, Robin Wall Kimmerer, John Hausdoerffer (Part 1)
We can get very serious about how kinship relationships are threatened by the violence of global capitalism. We have to practice, play with, flirt with ways of kinning that build resilience in the face of that.