The first paragraph I wrote after reading Saunders’s essay felt exhausting. Every sentence felt vague and hollow. But good: a feeling akin to my physical therapist standing beside me, correcting the form on my squats. Painful but good when I got it right.
In January, Safia Elhillo's debut collection, The January Children, brought her poems to my doorstep, and many others, as it became Amazon's top new release in African Poetry. I had the chance to chat with Elhillo about her collection and to discuss what it means to be a writer
2017 came, and I was in the market for words to live by. I needed a mantra to get me through the month of January. Miraculously, I found them four days into the new year: “We’re all special once we get to know each other.”
I found these words in
Recently I joke tweeted “What The Nutcracker’s Battle With the Rat King Taught Us About Trump Resistance,” as if I were writing that piece. I’m not. Last week, I traveled to Boston to watch my sister perform in her nineteenth year of Nutcracker, and the next day we sat
Writers in Baltimore Schools, the creative writing organization I run for Baltimore youth, has developed a protocol for mobilizing safe spaces for writing after trauma. We were unfortunately ready when Donald Trump was elected the 45th President of the United States. On Thursday, fifteen of us gathered to write
Juliet. Aurora. Desdemona. Julie Kent has portrayed them all, bringing texts to life during a 30 year performing career as one of America’s premier ballerinas. Last year, Kent retired from her position as Principal Dancer with American Ballet Theatre and has since taken the helm at The Washington Ballet.
In the days after the police killing of Tamir Rice, I came across the writing of Stacia Brown (including her essay For Tamir, Who Was Stolen). Her writing on Black motherhood drew in this young reader who rarely clicked on links about motherhood.
In recent years, the narrative ballet has reemerged, and with it, stories both forgotten and classic have appeared on the stage. Choreographers have drawn from Russian novels, Shakespeare, and modernism itself.
Recently, an interview that Barack Obama gave in 1995—which was republished in The New Yorker just before the Presidential Inauguration in 2009—made the rounds on social media again.
Last month I sat through five productions of Swan Lake, five days in a row. Despite a lifetime of ballet—and having danced the role of a swan in the ballet’s second act—I was hazy on the story’s ending. As perhaps I should be, as I’ve found evidence of nine