In the nineteenth century, Manifest Destiny cast pillage as a moral imperative. Its rallying cry re-ignited the American founding’s genocide and environmental destruction to fuel westward expansion. Cathy Park Hong’s sonorous triptych Engine Empire reshapes the Western’s tropes into a chilling interrogation of digitally facilitated detachment.
Human society is built on superficial impositions of order: government, religion, science, and language attempt to enervate chaos. But for Jane Mead, a poet entrusted with her family’s California vineyard in the midst of a historic drought, there’s no hiding from earth’s mists and windstorms.
Landscape sculptor Andy Goldsworthy has said, “The field is a beautiful forum for the fight for nourishment.” Jane Wong brings that forum to the page.
Symbolic as my singular action was, it was optimism in practice, opting for the choice to join a collective demonstration of resistance. These days, I’m far more likely to feel that “we” have ruined things than that “we” can affect the world to come.
Lorine Niedecker’s poem “Lake Superior” cracks open the human history of its eponymous source. Its thirteen fragments splice together geologic details, explorers’ diaries, and firsthand observations to trace white settlers’ incursions into “America’s / Northwest.”
Language retains the rhetorical barrier between the wild and the civilized, the false dichotomy upon which humans have built cities and established nations. It’s within this partition that poetic genres like the Romantic lyric and the pastoral took root, ensconcing the obfuscations that Tommy Pico rails against.
The Black Maria, Aracelis Girmay’s intricate epic of black survival, enraptures the reader in a gaze that looks simultaneously backward and forward, toward past and future that are impossible to see yet crucial to imagine.