Poetry. DREAM MACHINE, Sade Murphy's debut collection of prose poems, is a catalog of violence and somnambulant obsessions. This numerological tour de force creates a dreamscape that reflects various violence-saturated landscapes, including physical, sexual, psychological, racial, and gendered. Among these, the speaker of the poems both enacts violence and receives it, and violence becomes a neutral tool, taking on the qualities of the body that wields it. Both excessive and inclusive, the collection probes the speaker's desire to hold order and chaos, good and evil—any false dichotomy—simultaneously in tension and in harmony. To disturb these oppositions, Murphy invents Him, an uncanny, destructive, confining—yet somehow alluring—presence to interrogate the male gaze and normative masculinity. In conjunction with the nightmare man and mother, Him completes a trifecta of forces, both real and symbolic, that the dreamer must navigate and extricate herself from to attain the freedom she seeks.

Dream Machine

Literature & Fiction

LaNay, Sade

Poetry

co-im-press

Poetry. Latino/Latina Studies. Translated from the Spanish by Lisa Rose Bradford. Bilingual Edition. "why beneath the glory of this sun / do i sorrow like an ox?" A bull awakes one day to the realization that he's a castrated, browbeaten ox but is then briefly abstracted from this sorrow as the morning sun gently warms his hide and lifts heady aromas from the grass; while a man, graced with human cogitation, but burdened with the general suffering that surrounds him, delights in gorgeous women walking through flowery plats, who fleetingly offer distraction: this ambivalent oxen attitude pervades Juan Gelman's OXEN RAGE. Rife with speculation and uncertainty, this is a book of ruminations, written in language at times unorthodox and full of quirky coinages, often playful and paradoxical, always musical and richly imaginative. "OXEN RAGE is a 'midpoint 20th century' masterwork by a poet 'wretched and proud,' 'obscure in all his emberglow.' An exile, as Dante &amp; so many 'word-concertistas' before him, Juan Gelman 'disorders the chaos / with demented exactitude.' To have this core book of his oeuvre become available now, accurately and beautifully englished, is a major event—and a superb &amp; most useful guide through this, our own, demented century."—Pierre Joris "With her precise and imaginative translations, Lisa Rose Bradford makes it possible for the English-language reader to finally know one of the masterpieces of 20th-century Latin American poetry, Juan Gelman's OXEN RAGE. The work is a major crossroads in the leading thoroughfares traversed by this author, a model of rebellion and freedom, of devotion and rigor, in his exploration of reality through poetry. Each one of the 'the remains of nine books' that makes up OXEN RAGE has its own character and in their sequence achieves the total integration of the political and aesthetic avant-garde. Gelman takes on poetry as a widening of the understanding of the world, as the possibility of universal dialogue, as a radically transformative act."—Víctor Rodríguez Núñez "Juan Gelman's groundbreaking OXEN RAGE—one of the key works of Spanish-language poetry published in the second half of the twentieth century—engages the question of translation in unexpected and fascinating ways. Fortunately for English-speaking readers, Lisa Rose Bradford has produced an astonishing version in English of this masterpiece by the 2007 Cervantes Prize winner, published here in a wonderfully edited bilingual volume. Word by word, poem by poem, and book by book, Bradford carefully reproduces the playful logic of translation that pervades Gelman's original with exceptional ease and grace. If, as the Argentine poet suggests, the poems of Cólera buey constitute a 'herd of pieces that aspire to breathe,' Bradford manages to reproduce in OXEN RAGE that same vital aspiration by subtly recreating the many different dictions, tones, and voices that articulate Gelman's experimental conceptualization of poetic creation as a process of translation. As Bradford's version powerfully shows us, it is precisely here, in the crucial space where translation and creative writing ambiguously blur lines-an essential tradition of modern poetics gradually established by writers of the stature of Fernando Pessoa, Ezra Pound, Jorge Luis Borges, Jack Spicer, or Mary Jo Bang—where Gelman's OXEN RAGE undoubtedly deserves a distinguished place."—Ignacio Infante, Washington University in St. Louis "His writing is like a gust of wind, like a pounding wave where the sands delight in his verbal marvels, broken sentences, absence of punctuation, fractured rhythms that link, superimpose, interrupt and chop, leaving the poem in a question mark, which is a mark of life, the frozen sign of doubt. OXEN RAGE is a key book in twentieth- century Argentine literature, and with its publication, Gelman became an indispensable figure in the world of literature."—Marcelo Pichon Rivière, writer &amp; filmmaker

Oxen Rage

GELMAN, JUAN

Poetry. Middle Eastern Studies. Translated from the Farsi by Alireza Taheri Araghi. In order to shine some light on contemporary Iranian poetry unknown to Anglophone readers, I AM A FACE SYMPATHIZING WITH YOUR GRIEF brings together works by seven emerging poets: Arash Allahverdi, Sodéh Negintaj, Babak Khoshjan, Ali Karbasi, Mahnaz Yousefi, Shahram Shahidi, and Ahoora Goudarzi. Their poems teem with a rich array of imagery, themes, and allusions—from the Vietnam War to the Iranian Revolution, from the myth of Theseus and the Minotaur to the Iran-Iraq war, and even Quentin Tarantino's Kill Bill movies. With poems simultaneously personal, historical, and immediate, the seven poets in this collection reveal a vastly different Iran than those titans of traditional Persian literature, Rumi and Khayyám. Although these Iranian poets might be considered relatively unknown, their works, edited and translated from the Farsi by Alireza Taheri Araghi, are a testament to the compelling poetry worldwide being written outside the spotlight.  "Like a shot of fresh blood in the brain. Armed with a hacksaw not just to the language but the the logic behind it. Alive in all the way most US writing now is not. Horny and insane and hilarious and fervent, to the teeth. A fertile ground from which something not already-known can feed. Thank god and fuck yes."—Blake Butler "This radiant anthology is the anti-drone, prodigious and full of personality, rage, lust, humor, outsize claims and devastations. The young poets collected here write with brio, ambition, and an almost astronomical self- possession, recalling those great youngsters who invent what it means to be absolutely modern, from Rimbaud to Cendrars to MIA. Alireza Taheri Araghi has excellent instincts as both editor and translator; this madcap chorus comes through loud and clear, fresh, pliant, and dazzling. Reading the work of so many young hands, I feel I might finally want to live forever, again."—Joyelle McSweeney "In the vertiginous analogic reality of these poems (which are readable as hell) I hear something like this: 'Look at the surreally horrible things I am able to say are happening to me, that I am able to say are happening to my mother and father and sister and brother and lover. I am able to say that this unreal cruel reality is happening and I am going to keep on saying it as I look you in the eye.' There is resistant power in the way these poems comically beautifully bedraggledly boldly _continue_. Often long, often anaphoric, they crystallize violence in a moving stream. These young Iranian poets (young giants) are pervy, droll, and dangerously sane."—Catherine Wagner  "If there is hope for American poetry to transcend its embedment in empire, it might be via dialog with collections like this one. There is blood coming since our slab of rock ripped apart their waterfall. And events like this don't pass without marking and being marked by poems. Poems that are embodied, complex, and energetic."—Maged Zaher

I Am a Face Sympathizing with Your Grief: Seven Younger Iranian Poets

Poetry. Latino/Latina Studies. Víctor Rodríguez Núñez's TASKS [TAREAS] is an award—winning poetry collection, the recipient of Spain's Rincón de la Victoria Prize in 2010 and published there by the prestigious press Renacimiento in 2011. With striking images and memorable verses, TASKS creates a testament to the poet's unique migratory experience. While seemingly the chronicle of an immigrant who returns to his native country, the poem really asks how to return if you've never actually left. Using rigorous formal aspects to create a sense of pushing beyond known limits, this innovative long poem has at its core a rethinking of the experience of otherness, in which identification—both with memory and quotidian experience and with place tangled in subjectivity—prevails over any kind of differentiation. This leads not only to a profound questioning of nationalism but also of cultural identity itself. The result, which Katherine M. Hedeen renders for Anglophone readers, is a fluid poetic subject who disrespects borders and privileges movement over fixedness. "'…I'm / a phantom in this barbershop / mirrors eaten away by shadow' Víctor Rodríguez Núñez tells us in Katherine Hedeen's magnificent translation. And later: 'I linger in the snow a royal palm on my shoulder,' and still later: 'identity lurks / like a forgotten ring in a public bathroom.' These poems are intimate and historic, woven of memory, inhabiting a space that invites the reader in. This is the voice of a mature poet, a Cuban straddling the century in which his country rose about him, lifting him on shoulders of discovery, loss and everything in between. Rodríguez Núñez is one of his generation's most powerful poets, TASKS among his most satisfying books, and Hedeen's English renderings nothing short of magical." —Margaret Randall "The imagination of this Cuban, this true poet...stains the darkness of these times with a red squirrel guided by the light...Víctor Rodríguez Núñez doesn't wait for the arrival of anyone because he was baptized by poetry at birth." —Juan Gelman "Víctor Rodríguez Núñez is a poet after my own heart, a nomad witness who after the long reasoned zigzag dérive through senses &amp; cities, tropics &amp; topics, stands by de Greiff's sense that 'all journeys, all my journeys, are return journeys.'...The poet is indeed a master of the craft of otherness." —Pierre Joris "A Cuban poet who has spent much of his adult life outside Cuba, Rodríguez Núñez takes to all he sees and feels in poetry a consciousness of Cuba as place, as communities, and as a country isolated from his adopted home in America, as a form of restraint and dynamism...I cannot speak highly enough of this poet." —John Kinsella Translator's Bio: Katherine M. Hedeen is a specialist in Latin American poetry and has both extensively written on and translated contemporary authors from the region. Her book–length translations include published collections by Rodolfo Alonso, Juan Bañuelos, Juan Calzadilla, Marco Antonio Campos, Luis García Montero, Juan Gelman, Fayad Jamís, Hugo Mujica, José Emilio Pacheco, Víctor Rodríguez Núñez, and Ida Vitale. She is an associate editor of Earthwork's Latin American Poetry in Translation Series for Salt Publishing, an acquisitions editor for Arc Publications, and Translation Editor for The Kenyon Review. She is the recipient of a 2009 and a 2015 National Endowment for the Arts Translation Project Grant. She resides in Ohio where she is Professor of Spanish at Kenyon College.

tasks

Nunez, Victor Rodriguez

Poetry. Latino/Latina Studies. Translated from the Spanish by Daniel Borzutzky. Winner of the 2017 National Translation Award in Poetry. What spirits lurk beneath the surface of Valdivia's Calle-Calle River or loiter under the arches of the Pedro de Valdivia Bridge in southern Chile? Galo Ghigliotto's VALDIVIA answers these questions and others by intertwining memories of disaster and tragedy—personal, political, and natural—to recreate and relive each anew in unforgettably vivid poetry. Set in a city rich with history and mythology, VALDIVIA reveals a Necropastoral Chile—by evoking the threatening natural environment that bore the devastation of the most powerful earthquake on record and the state-sponsored violence of recent Chilean political history. In his introduction to the translation, Ghigliotto, a student of the great Chilean poet Raúl Zurita, states, "Over time, I discovered that there are things in this book that I did not know were there, but there they are. I am there, yes. VALDIVIA is, too, but Chile is there as well, and the emblem of Chile is violence. [.] It is a tragic country, where legends exist because there is always something dark and evil creating them somewhere." With Ghigliotto's VALDIVIA, Daniel Borzutzky continues the urgent and necessary work of translating contemporary Chilean poets as he deftly Englishes Ghiglotto's verses, full of the shadowy figures and images of legend that plague the city and the psychological memoryscapes that haunt the poet. Daniel Borzutzky's most recent books include THE PERFORMANCE OF BECOMING HUMAN (Brooklyn Arts Press, 2016), which is a finalist for the 2016 National Book Award; Memories of my Overdevelopment (2015); IN THE MURMURS OF THE ROTTEN CARCASS ECONOMY (Nightboat Books, 2015); and THE BOOK OF INTERFERING BODIES (Nightboat Books, 2011). His translation of Raúl Zurita's THE COUNTRY OF PLANKS (2015) was nominated for the 2016 National Translation Award. He has translated Zurita's SONG FOR HIS DISAPPEARED LOVE (Action Books, 2010), and Jaime Luis Huenún's PORT TRAKL (Action Books, 2008). His work has been supported by the Illinois Arts Council, the National Endowment for the Arts, and the Pen/Heim Translation Fund. He lives in Chicago.

Valdivia

Ghigliotto, Galo

Poetry. Latino/Latina Studies. Music. Translated from the Spanish by Judith Filc. In the stunning collection GHOST OPERA, Mercedes Roffé, one of the most esteemed contemporary poets of Latin America, reminds us that poetry's true origin is the stillness that precedes song. Sharing its title and impulse toward the ritualistic with Chinese composer Tan Dun's 1994 piece for string quartet, Roffé's GHOST OPERA expands outward, using forms and constraints to explore language through a multifaceted lens. Roffé presents us with an opus of diverse allusions, textures, and intertextualities—from Bach, Schoenberg, and Shakespeare to painting and Artaud's concept of ritual—all infused with an awareness of history and anthropology through which Roffé conducts her polyphonic fugue of image and lyric. Translator Judith Filc expertly recasts these poems into English, creating an elemental music that transcends the bonds of language's capacity to mean by reaching toward more etheric realms. "There are no poems I crave more than Mercedes Roffé's. In the original Spanish and Judith Filc's exquisite English translation, GHOST OPERA is song, fugue, dream, drama, prayer, oracle, and memory. Doing what ancient poetry used to do—what poetry still ought to do—Roffé's poems 'open the gates of Sleep' and waken the dying soul. Roffé's work is widely read in her native Argentina and throughout the Spanish-speaking world. North Americans need her voice, too, perhaps more than we know. We're incredibly fortunate to have this brilliant bilingual collection."—Janet Kaplan "Mercedes Roffé (Buenos Aires/New York) is internationally recognized for the quality of her poems. Her collection GHOST OPERA travels the workings of artistic expression. The poems manifest as an impressive progression of forms, through which she presents a step-by-step evolution of language and meaning. Opening poems perch over a great silence, cuing us to listen for ethereal voices—or perhaps only structures?—rising out of the hemisphere's deep past. Subsequent pieces move into situations—abstracted stagings of human behavior—and explore how the arts open multiple channels for the senses. A final series of compositions carries poetic language up into musical climax and down into prayer. Translator Judith Filc has recreated the color and precision of Roffé's scenes, allowing her words to cut across an inescapable, inhuman quiet."—Kristin Dykstra "Powerful, deep, and original, Mercedes Roffé's work constitutes one of the most remarkable examples of the struggle the poem continually fights to restore to words the meaning that was wrested from them."—Raúl Zurita

Ghost Opera

Roffé, Mercedes

Fiction. LGBTQIA Studies. Who, or what, is TJY? In this neon-lit chronicle of the rise and fall of literature's first pop star, the diva's trauma memoir collides with the twisted coming-of-age narrative of his adolescent fanboy, ornamented by the gilded prose poems that constitute the diva's song. The result is a queer exploitation, rather than obliteration, of whatever remains of the distinction between high theory and lowbrow culture, conjuring a space where Lady Gaga meets Valley of the Dolls meets Dennis Cooper meets Deleuze, set to a soundtrack by LaToya Jackson, and where camp's gestural pathos is tugged joyfully into the digital age. "It's totally time for TJY--a pop star who is also a literary theorist."--Kathleen Rooney "In much the same way that literally millions of people claim they were at Woodstock, or that tens of thousands will tell you they saw the last Sex Pistols show at Winterland, people will one day tell such untruths about their presence at the reading where Tim Jones-Yelvington debuted his LIT DIVA EXTRAORDINAIRE persona. And I am telling you right now: I was there, and now I am Tim Jones-Yelvingtoning down the Sequined Way. You should join me. Better late than never."--Martin Seay "In STRIKE A POSE, the prismatic voice/voices/personas/identities of TJY simultaneously reveal and occlude, self-praise and self-deprecate, are joyful and bitchy and vulnerable and demanding. It's like taking a glittery walk in consciousness/memory/fantasy, and it's so good."--Vanessa Angélica Villarreal "STRIKE A POSE smartly, hilariously reimagines the kunstlerroman as a (lit) celebrity memoir. The result is preposterous, provocative, and affirming!"--M. Milks

Strike a Prose: Memoirs of a Lit Diva Extraordinaire

Jones-Yelvington, Tim

Poetry. Latinx Studies. Translated from the Spanish by Lisa Rose Bradford. Appearing in English translation for the first time, TODAY (HOY) by Juan Gelman (1930-2014) is the final book published during the life of one of Latin America's most important and celebrated poets. Written as both a reckoning and a reflection following the 2011 sentencing of those responsible for disappearing Gelman's son Marcelo in 1976 during Argentina's Dirty War, TODAY's 288 prose poems vacillate between the depths of anguish and celebrations of the day, as the poet wrestles with being, loss, and the central paradox of much of his late verse: the injustice inherent in knowing anything that exists can't help being fully itself, while simultaneously mired in a process of becoming that has no attainable endpoint. Surprising, beautiful, and relentlessly questioning, Gelman's poetry pushes language's capacity for expression to its absolute limit. Readers will find the poems of TODAY a treasure trove--rich, moving, musical, and full of complex ideas, lingering imagery, and stunning turns of phrase. Feelingly Englished by award-winning translator Lisa Rose Bradford, these gemlike compositions hail the ear and inner eye, and reward rereading, as the more time we spend with Gelman's poems allows light to catch new facets and reveal their brilliance. "Grief and crushing darkness are the inescapable companions of these poems, whose world appears to be as fractured as the grammar and form of Juan Gelman's spare and concentrated verse. In this barbaric place where children are disappeared, where pain never ends and justice is ambivalent, the 'poem of harsh lineage' and 'unsheltered words' just may find, however, 'perfection in the loss.' Lisa Rose Bradford translates this difficult news in clean and muscular phrases that push constantly and generatively against the terrible truths of TODAY."--Sidney Wade "The world of TODAY is the present, a dark forest, that which is here, within and surrounding each of us: the 'Today,' a strange extreme, unlimited, insistent, inevitable, ungraspable. There are no words to fathom so much reality. Ungraspable, yet inescapable, the present clamours to be named; this is the adventure into which this book hurls itself headlong."--Daniel Freidemberg "Juan Gelman's last book is a work that grieves, that savors grief, personal and collective. Or more aptly, as ars poetica, these poems find the impulse to grieve deep in poetry itself--as Gelman has written: 'I've never been the owner of my ashes, my poems.' These elegant, chisel's edge inscriptions read like epigrams, like the very first epigrams, which were epitaphs engraved on tombs...This is a translation that, in its turn, relishes what is lost. Lisa Rose Bradford is remarkably receptive, tuned to the subtlest nuances in Gelman's language, intimate and estranging. This translation is a masterful rendering--and an homage to one of Argentina's greatest poets."--Michelle Gil-Montero "I find it hard to read HOY/TODAY without crying, but it's the kind of crying that's good for you. Full of sadness and beauty, spelling out loss and redemption, and absences remembered, the running verses of Juan Gelman's HOY speak of longing, singing with sentiment and love. And Lisa Rose Bradford's version is every bit as compelling as the original reflected in this bilingual edition...Juan Gelman is an indispensable figure in human rights--and in the tireless and essential labor of love involved in singing through verse."--Sergio Waisman "This urgent, luminous text is doubly haunted: the poems by the murder of the poet's son, the translations by the death in 2014 of the poet himself. It offers, as Lisa Rose Bradford notes in her fine introduction, 'insomniac inventories,' flashes of 'conflictive beauty,' and 'extreme condensation of thought and image,' as if Gelman were 'dragging the canals of thought in order to leave a final testimony.' The passion of Gelman's testimony comes through beautifully in Bradford's English."--Geoffrey Brock

Today

Poetry. Latinx Studies. Translated by Laura Cesarco Eglin. If life is no more than a prolonged flirtation with death, then Hilda Hilst's OF DEATH. MINIMAL ODES is the true account of a lifelong seduction. It is at once both a reverie and reliquary, as the poet imagines and reimagines that most paradoxical moment of disintegration--the corporeal flesh fusing with death's own dark corpus. With a visceral-mystical poetic voice that is as teasingly unrestrained as it is intellectually sublime, Hilst's odes enact a baroque danse macabre, where the poet revels in the incongruities of simultaneously seeking the sacred and profane. Translating the first collection of Hilda Hilst's significant body of poetry to appear in English, Laura Cescarco Eglin renders the imagery and philosophical complexity of these minimal odes with brio, while preserving the playful tone and lush melodies that mark OF DEATH. MINIMAL ODES as uniquely Hilstian. "The spare but ornate poems in this collection are startling the way a menagerie of creatures can be startling when the creatures themselves are composed of animal bits: claw, fur, 'brain and hooves / in the pitch dark.' Each minimal ode addresses death who becomes at times a lover, a sister, a slow-moving and wild mammal ever arriving. Hilst builds 'passageways' for death with each line--corridors which are 'Intricate. In knots.' The reader cannot help but join the poet in calling out the various names for death: 'Amber / Bundle of flutes / Gutter / Light.' And these are rendered stunningly in English by Laura Cesarco Eglin, who carries over every verse with clarity and care as though she were holding up pieces of glass to sunlight."--Carolina Ebeid "Before gaining notoriety for her highly original, experimental, and provocative works of fiction, Hilda Hilst engraved her name in Brazilian literary circles as a poet. OF DEATH. MINIMAL ODES, newly and assuredly translated by Laura Cesarco Eglin, shows Hilst the poet at her distilled best. As much a multimedia conversation with poetry as with life, death, and herself, Hilst poses essential questions whose answers lie at the core of these poems."--John Keene "In OF DEATH. MINIMAL ODES by Brazilian writer Hilda Hilst, death and poetry are lifelong bedfellows. In fact, they engage in a natural partnership, or, to borrow from the poet herself, a sisterhood-in-dialogue that is at once serious and seductive, playful, perilous, and habitual. Hilst's creative wordplays and tonal spectrum, by contrast, are extraordinary, and Laura Cesarco Eglin's translation matches her inventiveness with equal illumination. Hilst's verses affirm the common ground that exists between life and death, and carry with them a vibrant, volatile charge that accompanies this complicit union."--Marguerite Itamar Harrison, Associate Professor of Portuguese and Brazilian Studies, Smith College "The poetry of Hilda Hilst is fundamental--in every sense. Thanks to Laura Cesarco Eglin, who has accepted the challenge of translating these verses brimming with sensuality and music, a little more of Hilst's work is made known to the world. I welcome this partnership."--Adriana Lisboa

Of Death. Minimal Odes

Hilst, Hilda

Poetry. African & African American Studies. Finalist for the 2020 Big Other Book Award for Poetry. Sasha Banks's searing debut poetry collection america, MINE is a radical conjuring of a post-white supremacist United States of America. Blending speculative poetics and historiography, Banks creates a rich revisionist account of America, in which its most fraught institutions collapse and Uhmareka emerges --layering a new, strange, and graphic landscape with the textures of supernatural happenings, ghosts, creatures, and inconsistent recollections of American histories. Spurred on by the trauma of and lack of local and national accountability for Michael Brown's murder in 2014, Banks mixes magical realism and keen rage to interrogate white supremacy's narratives, challenge its prerogatives, and usher in a future where it can thrive no longer. In so doing, these Afrofuturist poems by turns summon historical and archetypal Black figures like Fannie Lou Hamer and Aunt Jemima to the National Mall; rouse the ghosts of Tituba, Rekia Boyd, and Cynthia Wesley at the Canfield Green Apartments in Ferguson; and describe a period of raucous destruction before Uhmareka is ushered in by the strange and mysterious forces that herald it. Will Black lives thrive in the re-envisioned Uhmareka, or will they struggle to balance new freedom with the lingering fear of the old ways' return? In america, MINE, Sasha Banks demands that we consider what possibility may spring forth from such imagining. "In america, MINE Banks comes to collect a devilish debt. A conduit for ancestral wisdom and wizardry, Banks shows us how words can be all things --a wish, a whip, a wound, a world, a wonder. This book be a black mirror reflecting all that we hope for, 'some spectacular / abundance,' and all that we fear, 'the twisted shape / of grief.' These poems interrogate what it means to be American and Uhmarekin, trouble and antagonize America's hostile history (distant and recent), and fantasize a fertile future for Black protagonists who will soon 'inherit the sky / somehow.'" --T'ai Freedom Ford "america, MINE takes on the hard work of refracturing an already fractured landscape and rebuilding it in a more honest image. What I love most about the work of Sasha Banks is how the language offers a permission to grieve and a permission to feel rage. But, even beyond, a permission to fully see your people on the other side and figure out how to love them best there. A place where 'The blood will not be ours, anymore.' This book truly sings." --Hanif Abdurraqib "With trenchant wit and thrilling inventiveness, Sasha Banks's visionary poems invite us to imagine building the post-white supremacist, post-capitalist America of our dreams on the ruins of the past --will 'Uhmareka' be an Afrofuturist utopia, an Afro-pessimist wasteland, or some bizarre combination of the two? Can we build anything at all on so shaky a foundation? Let's watch!" --James Hannaham

america, MINE

Banks, Sasha

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