When I tell my mother I am in love with a woman. She looks up from the frying pan and I look down as she asks me what it is that we do. She means sexually. She wants details. I think it's time to invest in coconuts. Never learned to stomach the smell of my mother's palm oil inside her American kitchen. Announcing itself in hot splatters across the clean lines of the cold porcelain. I still lay my temple across a cool surface, splay my troubles atop a tiled floor. Limbs like I'm seven again, naked from the waist, beneath my mother's steady hand and long silver scissors. Which always feel like surprise ice against my chubby pubis. Eyes pinned east beneath her impatient voice. I said don't move. My girlhood, open as the morning blinds, the light I wish was brighter. When Mama's finished cutting, she dusts the loose hairs like a janitor, underpaid. Sighs. Now I'm allowed to be a girl again. Pull up my shorts to play. Outside the air tastes like honeysuckle and I am on the cusp of forgetting. Until she calls me home. I pretend not to hear her questions. She wants to know where I am going.

from the book SONG OF MY SOFTENING / Alice James Books
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Photo of Ishion Hutchinson
Ishion Hutchinson Interviewed by Kate Kellaway

"I keep my attention sharply focused on the patternings I’ve created. I follow them almost by instinct. I can hear the poem before it arrives. There is repetition, too, an insistence on hearing and rehearing. I grew up with Jamaican music and wanted to have dub—which is the double layering of a phrase—as part of the texture of the language."

via THE GUARDIAN
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Cover of Bat City Review
What Sparks Poetry:
Nica Giromini on Language as Form


"What drew me to terza rima in particular is the tension, or rather disagreement, manufactured by its braided structure of rhymes. Because each stanza is interconnected with both the following and the former, the borders of the unit of the stanza start to fray. And a productive tension—one parallel to that of the competing units of sense of the line and the sentence—emerges between the units of sense of the stanza and of the poem (across stanzas)."
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