Raindrop Women
Me?
I roam sable streets
searching for white candles and coconuts
to wash the chaos from my skin
even still I have to write it out
make dyslexic thoughts rearrange themselves
put order to the recklessness
that is one spirit
on three planes
woman with many names
who sees rush hour
and thinks middle passage
spirit crashes
in to unborn daughters who will never know
my / this / our pain
if the job is done full time
the scripting of manifestos and declarations.
We are …
women refusing to tiptoe
we
march stomp scream
kick sing write
whatever to sever the ties
between oppression and ourselves … .
Lineage
I
He was the only son
of ambrosia, with one
kiss it was confirmed
II
His grandmother toiled
in cane fields, sugar was
the scent of her sorrow
At the heart of Olivier’s sculptural inquiry is the fate of our existing and future monuments. How can they teach, and change us?
In Evans’s first interview before the release of her new and unintentionally prescient collection, The Office of Historical Corrections, she discusses humor, power, and replicas of the Titanic.
“I would like to do more of that kind of thing: travel, spend some time in a place and really work from a different vantage point. I don’t know what will happen in my work from that, but I trust my ability to find the tools to find my way into my work. I think I will sit out in the woods more.”
Originally published in
Featuring interviews with Tim Roth, Amy Hempel, Emmylou Harris, Matthew Ritchie, Wallace Shawn, Christian Wolff, Gilles Peress, Kendall Thomas, and George Walker.
How do I build a fugitive choreography, one that’s always in the process of escaping itself, then coming back to reaffirm itself, only to slide away again? The act of interpreting a choreography is made live by the performers, which is the invitation in my work.
Ligia Lewis
