I think the poem tells you what form it wants to be if you listen carefully. I love when a poem is funky and wants weird line breaks or caesuras.
Men taught me that I was indestructible early on, and continue to so frequently to the point that I understand now that I am immortal. When will men learn that I am indestructible, and they are the ones destroying themselves?
Squinting at the Gold Teeth of the Sun: A Conversation with J. Mae Barizo on Tender Machines
A city, and also a language, is not just a product of the literal body, but of the emotional and conceptual possibilities of consciousness itself.
I don’t think I described friendship as a contract; our society already has.
I’m much more concerned with character than I am with crime: with the impact of the events – the crime, if you want – on the characters, rather than the crime itself.
What I really love about both science and writing are the imaginative leaps that are required to discover something new.
Interview [audio + transcript] with Max Fox, M.E. O’Brien, and Tiana Reid, conducted by Nico Millman
Adriana contains both a Scheherazade and the sultan who wants to kill her. She is paralyzed, almost like the living dead, because she feels that the disappearance of her family foretells her own.
I was trying to capture the reality of the old Cambodian way of seeing the world, where there is another world that is alongside this world.
I love short fiction as a form . . . I think it’s able to speak to the kinds of concerns I want to think about when reading—loneliness, grief, regret, the human condition—better than anything.