Prose
Zachary Erickson
These six poems could be said to be an apophatic theology in verse of Argentine history; at least, they were strongly influenced by the five months I spent in Buenos Aires in 2019.
Sabine Wilson-Patrick
Father, I
did not know Ogun personally but I knew his forge and his axe. The cold blade of his freeing
hand and his ability to live without the written word, or spoken word, or word of love.
Hazel Medina Morin
My first semester in Bennington I read a book in class where the main character had felt lost and confused because he didn't fit in with his native people nor did he fit in with the city folk. I wrote this essay about my own struggles when I moved to the US from Mexico.
Edelyn Hoi Lam Lau
The short story “The Day After” 第二天的事 (1972) is written by Liu Yichang 劉以鬯 (1918-2018), a Shanghai-born and Hong Kong-based writer, editor, columnist, and publisher. One of the “writers who went South” 南來作家, a significant group of Chinese writers who relocated to colonial Hong Kong due to the mainland’s instability during the Chinese Civil War (1945-1949), Liu did not see Hong Kong as a transient haven (Chen; Shih 18). Instead, he developed a much closer bond with the city, dedicating himself to the establishment of Hong Kong’s modern literature. Experimental in nature, his writing highlights Hong Kong’s hybrid voices during the mid-twentieth century.
Shira Ben-David
You used to go sit in the Cathedral grounds after school. This I remember, though there’s not much I remember from back then: little whispers of memories, faded into the noise and fog of a city I’ve not been to since February.
Kuttay (Dogs) was written by Patras Bukhari in 1927 as part of his short story collection, “Patras Kay Mazameen” (Essays of Patras), a masterpiece of Urdu humorous prose. Originally published almost a century ago, the humor resonates in Urdu even today, which is what inspired me to try my hand at trying to translate it for a twenty-first century Anglophone audience.
poetry
Zachary Erickson
“Non serviam” takes its title from James Joyce’s A Portrait of the Artist as a Young Man, and two of its lines are a quote from Martín Fierro. I hope that it honors both my Argentine friends and my perpetual Albanian companions.
Lisa Mullenneaux
Lisa Mullenneaux has translated Maria Attanasio's tribute to the installation by Anselm Kiefer "Seven Heavenly Palaces"
Daniela Benitez
Sabine Wilson-Patrick
Ayesha Bashir
Andreea Coscai
Isabelle Condor
Tomas Medina Arriaga
Chinmayi Krishnan
Muhammad Ammar
una procesión: el hámster de mi mamá murió. siempre le dije que era tonto comprar un hámster. se pierden y mueren y no son suficientemente grandes para ser buenas mascotas. no puedes abrazar un hámster, no los puedes amar. nadie recuerda los nombres de los hámsters. aún así, pinté una caja de cajeta y le hice una lápida para el patio.
Sasha Leshner
I don’t want to see their bodies
like soft antlers in those ditches
and be afraid
Alisha Shrestha
“The Crossing” is a piece about migration and displacement from a home that does not belong to you and devours you to another home that does not belong to you and devours you. I used the metaphor of the ether as a place of exile, refuge, and the immigrant as a bird reaching the place.
Please note that the line “i am awake in a place where women die” was a phrase created by Jenny Holzer in her work Lustmord (1993-1994), which she created to bring attention to the scores of sexual assaults that took place during the Bosnia War (1992-1995).
Elisha Aflalo
I am exploring building, destruction, rebuilding and growth of the self. This project began with questions about my own identity, and these poems map out some of the memories/experiences that I attribute to having built me. I was interested in themes of identity, home, and my relationships with myself and those in my life.
Visual Art
I created an oil painting of Made, posing in the rays of the setting Balinese sun; and my father, or Bapak, sketched with graphite. Portraiture is a portal to emotion, and I hope you feel a sense of that through my art pieces.
Ebony Dalimunthe
'Baby Never Grows': My piece 'baby never grows', written after Jamaica Kincaid's 'Girl', is an image of the antiquated Caribbean ideals of womanhood that I grew up with, interacting with womanhood as I see it now, as a means of my own personal erasure. In my country I was taught from a young age not only to care for myself, but for a husband, and for the world around me, as was, and still is, the custom. As I grew up, and gained distance from my upbringing, I realized that this caused me to equate womanhood with the erasure of who I really was, an outspoken, queer, creative who didn't fit with any cultural expectations. 'Baby never grows' shows a woman, free and expressive, though constantly turning back to what is expected of them, and a mother whose body has been entirely consumed by cultural norms to the point that nearly every time she moves, she disappears.
“Paper Boat”: Paper Boat is a piece filmed and edited by Marlo Irani, but written and performed by myself. It focuses on the experiences of leaving my home, Barbados, and coming to America for school. It dwells in frustrations about the importance of not damaging your VISA, existing in a space that is not meant for you and becoming a spokesperson for not only your own culture but for entire groups of people you are expected to represent, all whilst being expected to create art worth the financial struggle of moving to a new country.
Her paintings reconstruct memory through cultural memorabilia and explore the role of objects in fostering nostalgia. Her moving image works investigate racial melancholy, displacement, and amnesia. Her practice is engaged in the documentation of materiality and sentimentality explored in multiple mediums.
This journalistic piece investigates the connection between Romanian people and the country's leading power institutions. The COVID pandemic shed light on many insecurities for countries around the world. Therefore, the scandals in the public medical system of Romania re-opened a chapter of our history: Colectiv. Listen for an insightful, critical, and personal look at how power overcomes responsibility.
The work was made to celebrate Jussara's birthday at São Cosmo and Damião's festival. Jussara is the name of the açaí's tree and the artist mom names. The big red eyes behind the women are the Guaraná fruit, a native Brazilian fruit that in form of juice can be placed as oferendas to São Cosme and Damião's day.
This work is centered around the excluded history of bipoc artists throughout history. I hoped in this work to illuminate the fact that art history is White art history and does not encapsulate the work of the "other".
This piece’s style is referred to as Pichwai and originates from the Land of Maharajas, the Indian State of Rajasthan. Depicted in this image is Lord Krishna, an adored god of Hindus across the world. The term “Pichwai” literally translates to “at the back” as Pichwai paintings are done on cloth and hung as tapestries behind the idol of Lord Krishna in the sanctum sanctorum of Rajasthan’s Nathdwara Temple.
Nosizo Lukhele
Movement Journal is a life update of how i've been whilst being home after a long time being away from the land that raised me. It encompases thoughts that have been occupying my mind. Aspirations, goals, hopes and just the turmoil that lives in me breathing out.
It is set at the river my my home to revisit where I spent most of my childhood, my love for the river, flowing water which resemble fluidity and just allowing flow in the self. It inspires me when i'm feeling stuck internally. This piece is constituent of poems "possibly disconnected" but they felt relevant and deserved to be breathed into this piece.
Malvika Dang
On english tea and beauty captures the remnants of a post-colonial India and Indian feminity, embodied in the process of making English tea. A person in a saree. Saree undraping as haphazardly as the twirling milk in tea. Lipstick foisted on lips, unfoisted on lips. Love for the sun but hatred for its mark. English tea, but from Darjeeling. Beauty, but British. The luring calls of the chaiwaala banging the steel spoon but there is no chai tea, only tea.
On english tea and beauty, a personification of tea and beauty, an amalgamation of indigenous and colonial.
Xiao Ma
This set of photos is a protest in challenging the concept of time. They were taken in different times and spaces, but connected through human relations and emotional journeys that lead to possible growth. Photos are my way of approaching the world and memories, I believe the beauty of them reveals in their ability to redefine what vanishes and rebuild upon ashes.
Chuna
In May 2021 Chuna visited Tashkent - a city where their family ended up staying after Population Transfer. These works were done during the trip, capturing the most important and fleeting moments.