At stake in such multitudes, of which Reza’s novel surely is another substantial contribution, seems to be a fundamental rejection of the premise of Adorno’s dictum “To write poetry after Auschwitz is barbaric.”
women & roosters – Fenn Stewart
Good poetry is never arbitrary; it’s active and intentional, like an argument.
Telenovela — Gonzalo C. Garcia
Rather than a victim of history, Lucho is drawn as a stand-in for it — voicing an optimism of national possibility fueled by the hyperbole of propaganda.
The Woman Dies circumvented my critical brain: it made me laugh, shocked me, revealed my tastes to be safe rather than incisive.
Solidarity with Children – Madeline Lane-McKinley
Children do depend on adults, but dependence need not entail domination.
Foreign Fruit: A Personal History of the Orange — Katie Goh
Fruit becomes an object and artifact of history, shaping the currents of the world and the present moment
This narrative unmooring, while unconventional, strikes me as a byproduct of Jong’s departure from high-control religion
This is the nightmare of being a teenager, how the temporary bleeds into permanence in a developing mind and body.
Now More Than Ever – Greta Schledorn
What Schledorn reveals isn’t a secret self but the impossibility of having one.
Sour Cherry — Natalia Theodoridou
Theodoridou […] takes readers beyond named characters like Agnes and Eunice, and largely beyond hope.