Issue 2
Chasing Magic: Ayodele Casel, filmed by Kurt Csolak and directed by Torya Beard, New York City, opens by briefly focusing on a Twyla Tharp quote painted on the brick exterior of the Joyce Theater: Art is the only way to run away without leaving home, a quote that has new resonance in these times of isolation and lockdown amid the ever-evolving COVID-19 pandemic.
Above the North Atlantic, his lola miles away––her endless hands his face hasn’t fallen into since ‘03, a red hibiscus perched on her windowsill he’s forgotten the scent of.
Consider the quotidian horrors—this life your 80s sitcom with a laugh-track, the audience who knows how this ends.
I do not have the stomach to even kill that black widow, her body so shiny in the sun. I cannot release whatever is inside her.
We inherit these concepts of who we are from our parents, and I appreciate the things my mother taught me, but sometimes the concepts we inherit are outdated or troubling.
I’m a lot closer to the middle-aged soprano I’ve always wanted to be, but working on this project has made me take a backwards look at a very long shadow.
Reading these poems, I am struck by Choi’s relentless and acute attention to how the everyday becomes shot through with material effluents when living in a postwar national economy driven by industrial manufacturing.
The engorgement of portraits: white man after white man after white man on white horses over a mountain of dead bodies in battle. That was the final straw for me.
This book made my life, my breaking, my joy something other than a spectacle for the white gaze.
During drought or worse conditions, they can curl up and sleep in suspended animation for decades like tiny interstellar astronauts.
How neither of us/were made to debut in the kitchen out of our own/physical hunger, except if you believe grief too has a growl,/has a belly.