Regarding Apogee Journal:

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Toward the end of 2016, Apogee Journal launched #NoDAPL #StillHere: Native and Anti-Colonial Craft Against Dispossession. The folio was an incredible undertaking, centering the work of indigenous poets, writers, photographers, videographers and visual artists. The curation of the folio resulted in Sarah Clark enlisting her incisive excellence to Apogee‘s staff. In her letter from the editor, she writes, “The indigenous resistance sparked by #NoDAPL issued our refusal to continue abiding by the dominant imperial narrative. No longer willing to stand by and allow non-Natives to treat phrases like “this is Indian land” or “stolen land” as metaphorical. No longer willing to be told our sacred sites have no real value, dismissed because they do not fit in with the dominant culture’s idea of what is worth preserving – with what is holy. We rejected the belief that our problems begin and end with racist mascots and demeaning Halloween costumes. With #NoDAPL, we announced to the world that we will no longer be silenced.”

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Since I’ve last updated, Apogee Journal has also launched its eighth issue. Issue 08 features an incredible excerpt of Sueyeun Juliette Lee’s Relinquish the Sky, and poetry by Cortney Charleston, Wendy Chin-Tanner, Kemi Alabi and Gary Copeland Lilley among may others. This issue includes nonfiction from Rigoberto González and Justine el-Khazen, fiction from Jean Ho and Robert Lopez, visual art from Jennifer Chan, Dominique White, and Lawrence Lek. Cover art by E. Jane.


2 poems in Southern Humanities Review:

My poems “FDR Drive” and “abandonment before the salt pan (& the sandstorm)” appear in the newest issue of Southern Humanities Review vol. 50 No 3&4. Several years ago, I composed “FDR Drive”, annotating observations while driving up the highway. I began “abandonment before the salt pan (& the sandstorm)” while riding shotgun along the Trans-Kalahari Highway. The images in the poem draw from observations of the Namibian interior.

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The Poetry Project New Year’s Day Marathon:

Aeliana Nicole took this photo of me barely keeping it together New Year’s Day; I was so catastrophically hungover…standing was truly a miracle. I have to thank the Poetry Project for including me in their programming again this year.

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Fuck U Betsy

B and I have decide to start a band: materia, we’re doomy stoners. We’ve practiced once, but who cares, we’re performing at ALPHAVILLE: 140 Wilson Ave, Brooklyn. 2/15 8:00pm. COME THRU!

~photos from my RAGGA NYC profile~

Photo Credit: Dan Gutt
FIND OUT MORE HERE
HOW HAS YOUR BACKGROUND AFFECTED YOUR WORK/LIFE?

My ancestry exists
as a pantheon of whispers;

therefore, the wind
is my ancestry. Far off

sounds in my memory—
ni de aquí, ni de allá

—500 years of colonial rule,
enough generational distance

to be distant now. I work
hard. I work harder. Never

enough. For the product
of colonialism to be present

in the skin, is a thing I think
abt sometimes. I outlive each day

storm-fit and unsouling
myself. Loss. Lostness. Lost & list

-ening. Enemy, animate
my background—the noise

-scape of each triggered thought,
each iteration against oppression

a bone carved into the likeness
of my face—a pedagogy

of my own design—a murmur
of shadows

to which I must return.
& Thaz it.

Thank you so much to Randall Horton for inviting me to read with Xanath Caraza at the University of New Haven. I found myself deeply moved by Xanath’s evocative performance and text. It was truly an honor for me to learn so much in such a brief encounter with her craft. Truly incredible. These are photos of the event (provided by Xanath and Randall).