Cameron Quan Louie

I'm sorry I've never been to China. I said this to a man I met after a lecture. He was a true hyperpolyglot. He said beautiful things to me in French, then Arabic, English, Spanish, Mandarin. He drank beer and I took little sips of each description of the places I'd honestly made no sincere effort to visit. What I assume are the clouds above the mountains in Canton. The smell of tea leaves roasting in a wok. I think he took offense at how little I understood, despite the pains he'd taken to learn to communicate. I took offense at the way he spoke to himself through me, though I, too, love to sing a little louder in the shower if I know someone's listening in the next room. And we knew that we would never see each other again, and it is meaningless to apologize to all the people you never finish revealing yourself to.

from the book APOLOGY ENGINE / Gold Line Press
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While writing this poem, Lucie Brock-Broido’s line, “It is true that each self keeps a secret self which cannot speak when spoken to” kept surfacing. As the child of an adopted parent, I find basic facts of the “self” are often quite literally a secret: my ethnicity, culture, lineage. A stranger lecturing you about your presumed ancestral home while you awkwardly drink a cocktail is one result of this circumstance.

Cameron Quan Louie on [I'm sorry I've never been to China.]
Title page to C. S. Lewis' copy of H. C. Wyld's book, A Short History of English, complete with derogatory poem
"C. S. Lewis Satirised Oxford Peer in Secret Poems"

"The Chronicles of Narnia author simply could not stand H. C. Wyld, deriding his lectures as elementary and dismissing his snobbery and his bullying of students, referring to him in his diary as 'the cad.' It has now emerged that Lewis even inscribed derogatory verses about him across the blank pages of his own copy of Wyld’s 1921 textbook, A Short History of English."

via THE GUARDIAN
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Cover image of Lisa Duncan's book, Given
What Sparks Poetry:
Liza Katz Duncan on "The Uncles" 


"'The Uncles' are not actual people but attempts to personalize the tragedy of Superstorm Sandy through memories, anecdotes I had heard from neighbors and read in the news, bits of conversation, and places and images that continue to haunt me to this day. I chose the sestina’s six ending words to drive home exactly what was being lost, and what we continue to lose, both concrete (bay, fence, birds) and abstract (home, ways of knowing)."
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