| I am as confounded by anger and its origins as I am by the reality that knowing where something comes from isn't enough to minimize or dampen its impact. The legacy of the 1947 Partition is ongoing and unending, and this poem is haunted by all that the speaker has inherited across time: devotions, traditions, and rage. Sarah Ghazal Ali on "Apotheosis" |
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"Under Pressure: Oliver de la Paz"
"Allusion, mythology, and the Theseus and the Minotaur myth was a way for me to handle material that was tough for me. That was the stuff that I wrote first—I wrote about a hundred poems from that vantage point without taking away the mask. Then, the next thing that I wrote were the autism spectrum questionnaires. That was the key for me to tear away the veil."
via THE BOILER |
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What Sparks Poetry:
Cindy Juyoung Ok on Kim Hyesoon's "After All the Birds Have Gone"
"Stanzas and whole poems refuse the unit of the sentence, creating new syntax and refusing to designate themselves relevant to the constructs of past, present, or future. Kim’s is a poetry of present aftermath—of the annihilation absolute but not completed, of the past yet also ongoing. Although the source text of 'After All the Birds Have Gone' is in the present tense, its frame of reference is of survival, invoking the past, while the implied conditional hints at the future." |
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