Kathy Fagan’s newest collection of poetry leans on its eponymous tree’s multi-colored, mottled trunks, its hefty size and spreading canopy, to provide a material figure for perseverance and resurrection, replacing those old images of “angel / wings of gold and mica.”
Olga Tokarczuk’s newly translated novel has been marketed as a murder mystery, albeit a strange one. It is that, partly, but underneath the whodunit is another novel: one about how our obsession with usefulness leads to greed, and the devastating impact of both on the environment.
In new collections by Marwa Helal, Alexis Pauline Gumbs, and Chaun Webster, we find rich archives of ideas and texts that hold within them visions of a future where people can fly and where people can also stay to flourish in the place they call home.
Genderqueerness is futuristic at its core, which is why you’ll come across many genderqueer characters in speculative fiction. But translation creates friction: gender identities meant to be ambiguous or kept secret until the reveal of an unexpected twist come up against other linguistic systems, as well as translators’ preconceptions.
Italo Calvino’s work reminds us that curiosity itself is a kind of gravity, a pull that is difficult to understand or measure and yet is instinctively, unavoidably felt.
Although none of the characters in Isabella Hammad’s new novel are diasporic themselves, her intricate use of Arabic instills the mixed language of diaspora with a fresh purpose.
How does the idea of the “wild” manifest itself in the lives, and ways of living, that contemporary America remains both fascinated by and deeply ambivalent about?
The stories of Ikonomou’s new collection revel in ambiguity, illustrating the crisis in a more nuanced way than many of the “crisis lit” works that reach the U.S. Importantly, too, they demonstrate Ikonomou’s gift for Greek in its rawest spoken form.
Nye’s melding of voices in her new poetry collection is an activism of its own. Not only does this decision create a space for Palestinian mourning, it also actively works to shatter an us versus them mentality with regard to the Palestinian-Israeli conflict.
Mariateresa Di Lascia’s modern classic, which won the Strega Prize (the Italian equivalent of a Pulitzer)—but is only now forthcoming as an English translation—is incredibly pertinent to the way our society is grappling with how a woman’s life is often marked by an endless series of hidden indignities.