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Both sides play the blame game as virus relief talks stall (AP) With talks on emergency coronavirus aid having stalled out, both sides played the blame game Thursday rather than make any serious moves to try to break their stalemate. Official Washington is emptying, national politics is consuming the airwaves and the chasm between the warring sides appears too great for now. All of the chief combatants have exited Washington after a several-day display of staying put as to not get blamed for abandoning the talks. The political risk for President Donald Trump is continued pain in U.S. households and a struggling economy—both of which promise to hurt him in the September campaign. For Democrats, there is genuine disappointment at being unable to deliver a deal but apparent comfort in holding firm for a sweeping measure instead of the few pieces that Trump wants most. With the House and Senate essentially closed, and lawmakers on call to return with 24 hours’ notice, hopes for a swift compromise have dwindled. All indications are talks will not resume in full until Congress resumes in September, despite the mounting coronavirus death toll.

Rural families without internet face tough choice on school (AP) John Ross worries about his children returning to their classrooms this fall with coronavirus cases rising in Kentucky, but he feels he doesn’t have much of a choice: His family’s limited internet access makes it nearly impossible for the kids to keep up with schoolwork from home. “They’re going to have their education,” the father of three in rural Lee County said as he recalled his children’s struggles to do their work this spring over a spotty cellphone connection. Lee County, a community of around 7,000 people deep in the Appalachian Mountains, is one of many rural school districts around the country where the decision over whether to bring students back into classrooms is particularly fraught. As in other places, parents and officials are concerned about the virus, but dramatically limited internet access here also means kids could fall seriously behind if the pandemic keeps them home again. Roughly 3 million students across the United States don’t have access to a home internet connection. A third of households with school-age children that do not have home internet cite the expense as the main reason, according to federal Education Department statistics. But in some rural places, a reliable connection can’t be had at any price.

UK orders quarantine for arrivals from France (AP) Britain will require all people arriving from France to isolate for 14 days—an announcement that throws the plans of tens of thousands of holidaymakers into chaos. France is one of the top holiday destinations for British travelers, who now have until 4 a.m. Saturday to get home if they want to avoid two weeks in isolation.

Surge in Covid-19 cases among younger people (The Guardian) Surges in Covid-19 cases in countries across Europe are due largely to a rise in infections among young people, data from national agencies shows, prompting fears among experts that the virus could soon spread back to more vulnerable groups. Unlike during the early months of the crisis in March and April, when older people accounted for the biggest share of cases, in France, Germany, Spain, the Netherlands and Belgium 20 to 39-year-olds now represent up to 40% of new infections. In Germany—which on Thursday reported a three-month high of 1,445 infections in 24 hours, against about 6,000 at the height of the pandemic—the health minister, Jens Spahn, said the rise in the infection rate among young people had been “significant”. The average age of people being infected with the virus was now 34, the lowest since the start of the epidemic, Spahn said.

Belarus authorities free detainees amid protesters’ pressure (AP) Belarusian authorities have released about 1,000 people detained amid demonstrations contesting the results of the presidential election, in an attempt to assuage public anger against a brutal crackdown on peaceful protests. Around midnight, scores of detainees were seen walking out of one of Minsk’s jails. Ambulances arrived to carry those who apparently were unable to walk on their own. Many of those who were released talked about brutal beatings and other abuse at the hands of police, and some showed bruises. Some wept as they embraced their relatives. The move comes on the day that European Union foreign ministers are due to meet to discuss possible sanctions against Belarus. In five days of massive protests, crowds of demonstrators swarmed the streets to contest the vote results and demand an end to the 26-year rule of authoritarian President Alexander Lukashenko. Nearly 7,000 people have been detained and hundreds injured.

North Korea floods kill 22, approach nuclear reactor (Washington Post) Flooding caused by weeks of unusually heavy monsoon rains have killed at least 22 people in North Korea, with four others missing, and even approached the country’s main nuclear reactor, but leader Kim Jong Un says he is too worried about coronavirus to accept outside help. The International Federation of the Red Cross said the floods had left 26 people dead or missing. The official Korea Central News Agency (KCNA) said at least 16,680 houses and 630 public buildings had been destroyed or flooded during the monsoon, with nearly 100,000 acres of crops damaged, and many roads, bridges, railway tracks broken. A dam at a power station also gave way, it said. The disaster adds to an already troubling humanitarian situation in North Korea, whose weak economy has been further battered by the coronavirus pandemic.

‘Made in China’ label ruling hits a raw nerve in Hong Kong (Washington Post) This city’s leaders have insisted repeatedly that Hong Kong is an “inalienable” part of China. They’ve banned school students from singing Hong Kong’s protest anthem. They’re implementing patriotic education to force youngsters to love the “motherland.” A new national security law sets heavy penalties for anyone advocating Hong Kong’s separation from the People’s Republic. So, after the United States determined that Hong Kong no longer had autonomy under its “one country, two systems” formula, U.S. Customs and Border Protection ruled Tuesday that imports from Hong Kong must be labeled “made in China.” Those three words sent Hong Kong officials into a collective tailspin. At a media briefing Thursday, a member of Hong Kong’s ruling cabinet delivered a message that, from the mouth of a pro-democracy activist or political opponent, could put them behind bars: The former British colony is not, in fact, China. Coming a month and a half after Beijing’s security law made calling for an independent Hong Kong punishable by life in prison, and just weeks after teenagers were arrested over social media posts advocating just that, the Hong Kong government’s sudden attempt to distance itself from China sparked ridicule online.

China’s show of force (Foreign Policy) The Chinese military announced on Thursday that it had conducted a series of military exercises around Taiwan in a provocative show of force as relations with the United States continue to sour. The exercises occurred at the tail-end of a visit to the island by U.S. Secretary of Health and Human Services Alex Azar, the highest-level meeting between U.S. and Taiwanese officials since Washington severed formal diplomatic ties with Taipei in 1979. China threatened unspecified retaliatory action in response to the visit, and on Monday two Chinese jets briefly crossed into Taiwanese airspace just prior to the meeting between Azar and Taiwanese President Tsai Ing-wen.

75 years later, Japan war orphans tell of pain, recovery (AP) For years, orphans in Japan were punished just for surviving the war. They were bullied. They were called trash and left to fend for themselves on the street. Police rounded them up and threw them in jail. They were sent to orphanages or sold for labor. They were abandoned by their government, abused and discriminated against. Now, 75 years after the end of the Pacific War, some have broken decades of silence to describe for a fast-forgetting world their sagas of recovery, survival, suffering—and their calls for justice. The stories told to The Associated Press ahead of Saturday’s anniversary of the war’s end underscore both the lingering pain of the now-grown children who lived through those tumultuous years and what activists describe as Japan’s broader failure to face up to its past. The orphans feel they were forgotten by history and by their leaders.

UN soundly defeats US demand to extend arms embargo on Iran (AP) The U.N. Security Council on Friday resoundingly defeated a U.S. resolution to indefinitely extend the U.N. arms embargo on Iran, with the Trump administration getting support from only the Dominican Republic but vowing further action to prevent Tehran’s sale and export of conventional weapons. The vote in the 15-member council was two in favor, two against and 11 abstentions, leaving it far short of the minimum nine “yes” votes required for adoption. Russia and China strongly opposed the resolution, but didn’t need to use their vetoes. The Trump administration has said repeatedly it will not allow the arms embargo provision in the Security Council resolution endorsing the 2015 nuclear agreement between Iran and six major powers to expire as scheduled Oct. 18. U.S. Secretary of State Mike Pompeo suggested the U.S. would invoke the “snap back” mechanism in the 2015 nuclear deal that would restore all U.N. sanctions on Iran — and U.S. Ambassador Kelly Craft said the United States will go ahead “in the coming days” and keep America’s “promise to stop at nothing to extend the arms embargo.” President Donald Trump pulled out of the nuclear agreement between Iran and six major powers, known as the JCPOA, in 2018. But the U.S. circulated a six-page memo Thursday from State Department lawyers outlining why the United States remains part of the 2015 Security Council resolution that endorsed the deal and still has the right to use the `snap back’ provision. The five other powers — Russia, China, United Kingdom, France and Germany — remain committed to the deal, and diplomats from several of these countries have voiced concern that extending the arms embargo would lead Iran to exit the nuclear agreement and speed up its pursuit of nuclear weapons.

Lebanese have little hope blast probe will lead to truth (AP) Lebanon’s judicial investigation of the Beirut port explosion started with political wrangling over the naming of a lead investigator, military threats to jail leakers and doubts over whether a panel appointed along sectarian lines could be fully impartial. So for many Lebanese, their greatest hope for credible answers about the blast that wrecked much of their capital may lie with outsiders: the French forensic police who have joined the probe and FBI investigators are expected to take part. The Beirut explosion lies at the crossroads of a disastrous accident and a crime scene. It still was not known what sparked the fire that ignited nearly 3,000 tons of ammonium nitrate that were stored for years in Beirut’s port next to densely populated residential areas. Documents have emerged that show the country’s top leadership and security officials were aware of the stockpile. Many Lebanese want the probe taken out of the hands of their own government, having learned from past experience that the long-entrenched political factions, notorious for corruption, won’t allow any results damaging to their leadership to come to light.

Iran, Turkey lash out at UAE over agreement with Israel (AP) Iran and Turkey lashed out at their regional rival the United Arab Emirates on Friday over its decision to normalize diplomatic relations with Israel in a U.S.-brokered deal, accusing it of betraying the Palestinian cause. The UAE, which has never fought Israel and has quietly been improving ties for years, said the agreement put a hold on Israel’s plans to unilaterally annex parts of the occupied West Bank, which the Palestinians view as the heartland of their future state. The agreement would make the UAE the first Gulf Arab state—and the third Arab country, after Egypt and Jordan—to have full diplomatic ties with Israel. The historic deal delivered a key foreign policy victory for U.S. President Donald Trump as he seeks re-election and reflected a changing Middle East in which shared concerns about archenemy Iran have largely overtaken traditional Arab support for the Palestinians. Israel, the UAE and other Gulf countries that view Iran as a regional menace have been cultivating closer ties in recent years.

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topmixtrends · 6 years

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A FEW DAYS INTO January 2018, I heard Kwame Dawes give a lecture on “The Poetry in Music / The Music in Poetry” in Oregon, at Pacific University’s low-residency MFA program. Dawes had just been named one of the new chancellors of the Academy of American Poets, along with Marilyn Chin and Marie Howe. He was continuing a professorship at the University of Nebraska. He was also continuing as editor of Prairie Schooner and in his work with the African Poetry Book Fund, which publishes four full-length books of poetry and a new series of chapbooks every year.

Dawes’s lecture on music was among my favorites at the residency, and I picked up his most recent collections, including City of Bones: A Testament (2017), at the student bookstore. “Most recent” is a slippery term with Dawes. For example, when we first corresponded about this interview, City of Bones was recent. Since then, he has at least two new books out, including a reprinting of 1995’s Prophets and, co-authored with John Kinsella, A New Beginning: A Poem Cycle. Dawes, who was born in Ghana and raised in Jamaica, is a prolific poet with more than 20 collections, as well as an established playwright, novelist, journalist, critic, musician, and synthesizer. He is the author of the authoritative study on Bob Marley’s lyrics and is responsible for a number of innovative mixed-media projects and anthologies, including the recent responses to the work of artist Romare Bearden.

When I saw him again in April, he was reading at Split This Rock’s social justice poetry festival in Washington, DC. Actually, he wasn’t reading — he was singing. He opened his presentation with a lesser-known Bob Marley chant, “Roots natty roots / dread bingy dread / I and I a de roots,” which created a sense of calm and suspense over the audience. His gift for rhythm remained in his delivery of poems — some of praise and some of mourning. I could see the audience nodding at familiar sounds and delighting in surprise as he invoked the tactics he showed us in the craft talk three months earlier, like creating patterns with poems that reward the listener by matching expectations, then changing the patterns to counter expectations and emphasize important shifts.

In our interview, which occurred over email in May, he discussed many of the takeaways from that January lecture, including the role of music in verse and the overlap between genres. We spoke about how our childhood memories of poetry inform our current understanding of the genre and how that entry point into the work is usually closer than we think.

EMILY SERNAKER: How can existing songs within us — nursery rhymes, hymns, chants, and prayers — inform our approaches to poetry?

KWAME DAWES: I believe that some of our earliest experiences with poetry come from the hymns, songs, rhymes, and chants that we hear as children. Nonsense stories, language play for the sake of invention and delight, are all part of that barrage of poetry that we deal with as children. We learn mystery and fear through incantations and prayers. We learn the gap between sound and meaning and we learn to dig deeper or simply ignore it. The fact is, that not even technology has changed that reality for us. These informal and sometimes formal ways in which we encounter the poetic are important in instilling an impulse toward language and mystery and the power of language to bring clarity.

What happens after that period is what determines whether we grow to love poetry in its more formal sense or not. Some cultures and some periods in history are known to formalize the engagement with structured and artful language sooner and for a longer period than others. Popular music, the radio, television, computers, and much else, have complicated the ways in which we encounter the poetic, but I like to think that much of the magic is still there. I do remember as a child believing fully that words chanted could effect change, could haunt, could curse, could, as we would say in Jamaica, guzum circumstances and experiences.

What shatters that magic of those early moments is when we discard that element of delight, play, and mystery for the business that happens in the middle-school classroom that turns the play of language into study, into labor, and into a negotiation between certainty and received assurances of meaning. We stop associating poetry with something everybody does, but with something related to academics and study. I am not talking about the difference between spoken word and book poetry, as some are wont to do. The tyranny of form as a polemical force crosses both of these genres, and sadly, even the spoken word rarely enters the atavistic realm of mystery and incantation that I believe should be part of the poetic impulse. It is not, either, a distinction between so-called “academic poetry” and “popular poetry.”

The difference is largely specious, for there is mystery and magic and sentiment in work that we like to call academic inasmuch as there is formal rigidity and conservatism in so-called popular street performance poetry. These labels do not get to the heart of the matter. The heart of the matter is the poetic impulse, and I am increasingly of the view that the closer that poetry gets to prayer — to something spiritual, if you will — the closer we come to a genuine poetic sense.

You’ve described your recent collection City of Bones as having particular urgency. How was creating it different from other collections?

I write to understand the world I live in and to discover what I think and feel about that world. I also write to write. The truest answer to that pesky “inspiration” question is that I am driven to write by the desire to write. The process of writing, the way it makes me feel, that is what gets me back to the page.

City of Bones arose out of my intense study of and love for the plays of August Wilson. I have been taken by the work of a number of playwrights in my life — playwrights whose work I have spent a great deal of time reading and, where possible, viewing. Some names that come to mind are Athol Fugard, Ntozake Shange, Dennis Scott, Wole Soyinka, Michel Tremblay, and Caryl Churchill. For years I worked as an active playwright, so this kind of focused examination of their works makes sense. The list is a far longer one and includes single plays by gifted artists like Patricia Cumper.

In my own training as a playwright, I have read much of the Western canon of plays in English and in English translation, and, of course, the works of African playwrights, Asian playwrights, and so on. So it is a thing for me, as they say. Wilson was a revelation; and I was in awe of the audacity of his project and his remarkable success at achieving it before he died. I simply wanted to be in conversation with that work as a way of conversing with myself. So I made one basic and ambitious decision. I bought 10 notebooks, and vowed to write as many poems in response to each of the plays in his 10-play cycle. The task is not completed, but the job is — the job of making a collection of poems in dialogue with August Wilson. All the plays have some echo and voice in the collection, some more than others. But I regard these poems as deeply personal, even though many aren’t personal in nature.

I suppose I come to the poems with the attitude of a very sloppy actor who has decided to pick and choose what snippets of language from the playwright he will use and then selfishly lets his emotional “interpretation” of the plays shape his performance and, in the process, go as far as quarreling with, echoing, stealing from, and departing entirely from the work of the playwright. The last thing I am doing is retelling Wilson’s plays. Instead, I am treating Wilson (and this is the best I can do by way of explanation) as thousands of artists have treated William Shakespeare, Miguel de Cervantes, Dante Alighieri, the Bible — as a rich source of poetic allusion, reinterpretation, tradition, possibility, and stories.

The truth is, we have a strange kind of permission that Jamaicans delightfully cast as “t’ief from t’ief, God laugh,” meaning when a thief steals from another thief, God laughs. The suggestion is one of a certain kind of comeuppance, but we also embrace it as a kind of permission without judgment. Cervantes and Shakespeare were, by any standard, famously inveterate larcenists, so there is something almost necessary about the “conversation” with tradition that is built into my project. Perhaps such projects require a buffer of centuries to avoid some of the inevitable weeds, so to speak, but I truly enjoyed the poems that emerged and the hard work that followed of culling them to fit into a coherent collection of verse.

City of Bones is full of music, with scenes in church, conversations with ancestors, sounds of nature and breath, instruments, spirituals, hymns. Bluesmen play throughout. In what ways did you seek to utilize music to engage with the larger story of African diaspora?

I think you have answered your question by your observation. You might have said the plays of August Wilson are full of all the sources of music you listed above and more. Wilson was drawing on jazz, on classical music, on the collage improvisations of Romare Bearden, on the call-and-response of folktale telling, on prison songs, on the echo of West African chants and rituals to feed his work. It is inevitable that any “good ear” would have to pick up much of this and use it with glee in the poetry that is claiming to be “inspired” by Wilson’s art.

Some of the most brilliant commentaries on blues are made in Wilson’s plays, and he himself would speak at length about the ways in which he handled the monologue and the long speech as a kind of blues narrative form and structure. Wilson wrote deep inside black tradition, and he relished all the possibilities there, possibilities that writers like Zora Neale Hurston, W. E. B. Du Bois, James Weldon Johnson, and Langston Hughes, among so many others, would talk about beautifully and movingly when they spoke of their nascent poetics and literary aesthetics. I bring to this conversation my own rootedness in African music, both from my childhood and my later adult life, and my long-established engagement with reggae music and its aesthetic.

City of Bones is thick with allusions to calypso, to reggae, to samba, to highlife — forms that Wilson does not speak of explicitly, but that he would have also heard in his own immersion into music and culture of Africa and its diaspora. Wilson, in many ways, writes a play of deep authenticity to region, to cultural history — what some would even call a purity of care to accuracy and authenticity. I have enjoyed breaking through that with the intrusion of my narratives, my other cultures, and my sense of the pan-African experience that is both confirmed and bolstered by Wilson’s work. So there are accents that I hear in Wilson that arise from the South Carolina landscape where I lived for two decades, and I bring other accents to the poems in City of Bones to remind us of the ways in which the African experience has followed sea currents and trade winds and the paths of abuse and horror and survival around the globe. Maybe that is what I could call an “achievement” of the book.

Do you see the trumpet from Wilson’s Fences (and Gabriel’s eventual inability to create sound) as particularly devastating?

The possibilities of interpretation here are immense. The most obvious read is to see this as a tragic moment, a moment in which the muting of all music and thus all articulation is completed. But there is something else that happens in performance, and I think when the actor does not look devastated, but actually acts as if he feels that the effort has been worth it, that this is something he will continue to do until a sound will come, we are then left with a sense of hope.

Wilson’s hope is also hard won and something that has to be wrested out of tragedy. And Wilson is making it clear that every single act of hope and joy in African-American life has had to be hard won. For when we celebrate Martin Luther King Jr., we are, like Jesus’s disciples at the Last Supper, anticipating the crucifixion. The same goes for Malcolm X, for Medgar Evers, for Angela Davis, for Zora Neale Hurston, Tupac Shakur, Bill Cosby, heroes, villains, victims, and victimizers — the story of the African American arrives at hope and joy, true terrible calamity; and that wind, that long wind of sound, is at once a sign of breath and a sign that there is a long way to go. I can hear people saying that this is true of all people. Perhaps. But here Wilson has made this particular tragedy into monumental art, and it has become a gift for all others to carry with them. It is what Bob Marley did. It is what great art does.

The poem “Stop Time” centers around the concept of a joyful pause within a moment of singing spirituals. How did the three-stanza structure help you achieve the tone you wanted for this poem?

You know, the blues form is basically a three-line form, and it does evolve around repetition and a kind of satisfying “punch line” in the third. That is normal. I was actually fascinated by the gaps that much black music relishes in — the way that black music makes use of syncopation to create a sense of anticipation, and anticipation that happens when the body and mind continue the rhythm even when the music has stopped playing. When the music returns, there is something like an orgasmic whoosh of delight in the way we have kept time, the joy that the beat has returned, and the addictive desire for yet another testing of that faith.

I don’t think I have managed to capture everything or even most of what that sensation is like in the poem, but it is a good failure, as they say. Just listen to a good dub track by King Tubby and Lee “Scratch” Perry and allow your body to be mesmerized by the rhythm, and then listen for that moment when the bass drops out, leaving all the high stuff — keyboards, high hat, guitar — going, and then feel what happens when the bass returns. Whoosh! It enters the belly. That is a kind of stop time. In gospel, funk, and other forms of black music, even in the way the clave works, we get smaller versions of that pleasurable syncopation. To then make metaphorical that sensation into so much that has meaning for a people who have suffered and triumphed is one of the great pleasures of making poems.

Can you speak about this passage from “Stop Time”: “And here / in this chapel the world is held / in the cradle of a song, and for this / one moment, he knows how to walk”?

I do believe that the pleasure I mentioned above is the “walking” that is an affirmation of presence and existence in the world. Reggae dancing in its many forms has amounted to a kind of walking, various ways of stylizing the walk. And the walk is massively important because a people who is moving both because it has been forced to (and so is still alive by walking) and also because it is seeking to connect with creation and live in it, is a people aware of its very history and presence. Oh, language, how it fails us! I do know that I wanted to capture this difficult truth that sometimes, in the moment of spiritual sublimation that comes with worshipful singing and dancing, there is a way in which we are enacting this movement inside the world; and it is as if, contained in this moment, in this space, in this chapel, if you will, is everything that it means to be alive.

When I have felt elevated enough to want to and actually utter tongues that are incomprehensible to the mind, it has often happened when the body and mind seem to have found themselves at this crossroads where it seems possible to conceive of the world in one moment and space. Yes, it is an impossibility, I know, but it is also a genuine sensation; and to walk, to skank, to move in that space is perhaps what I hoped to capture in those lines. What did Derek Walcott say? “There are things that my craft cannot wield.” Poetry is a constant failing for me. But as I have said earlier, sometimes there are good failures, and the rest is not our business.

As editor of Prairie Schooner and co-editor of New-Generation African Poets, thousands of poems come across your desk each year. What is the biggest mistake writers make in regard to sound?

I limit my ideas of “mistakes” to rather small and arguably broader categories like lack of originality; cliché of idea, rhetoric, and language; overwriting; pretentiousness; mishandling of sentiment; clarity of thought and language; inconsistency of form; and incomplete thought. Are these mistakes? No, these are just the failings of poems we all write, and often they show up quickly. I say this to say that “mistakes of sound,” which I am not sure I could identify consistently, would have to do with the problems that come with unnecessary distractions that certain gestures can cause in a poem. If rhymes are overly predictable, then they suggest a lack of judiciousness in their use and a misunderstanding of what delight original and surprising rhymes can generate. Sometimes incongruity in sounds — assonance and discordant sounds — can be a good thing for a poem, so such “mistakes” are really not mistakes, are they? I believe that everything in a poem must serve the poem in some centralized way.

There has to be some kind of rupture, intentional in its place and presence, when the pattern established early in the poem is broken because of this matter of anticipation, which you mention. So, Walcott said, we should be truly careful about our first lines, and if they are good, we should trust their guidance. And if we choose to change the pattern, we should know that the reader is still carrying those first lines and will have a visceral reaction to the shift which, he argued, we should regard with the kind of reverence and respect that covenants demand. I mention Walcott here because I think he is talking about matters that connect with sound and music in poems as well. Of course, we all know that song (which is one way to think of poetry that goes back deep into our history as humans) is built on repetition and change — anticipation and what follows that, either disappointment or satisfaction. So poetry is no different in that regard.

Are there new choices poets are making in their work that excite you? Who are you looking forward to reading in the coming year?

I am a friend of poets. I am someone who works with poets. But I am deeply involved with curating the poetry that is coming out of Africa these days. And every time we publish a new collection by an African poet, it feels as if something remarkable and transformative is happening. So I am looking forward to all the new books of poetry by African poets being published by the African Poetry Book Fund. I will name three poets who, I believe, we should pay careful attention to whenever their new work appears. Mahtem Shiferraw from Ethiopia, Tanella Boni from the Ivory Coast, whose work has been translated elegantly by Todd Fredson, and TJ Dema from Botswana. Chris Abani is about to wrap up a new collection that is stunning, and Graywolf Press will be releasing Ilya Kaminsky’s long-awaited second collection this year. Striking work. The list could go on and on, but I will stop there.

Emily Sernaker is a writer and human rights professional. Her work has appeared in the Los Angeles Times, Ms. magazine, McSweeney’s, The Sun, Rattle, New Ohio Review, GOOD Media, The Rumpus, and more.

The post Poetry and Song: The Sublime Spirituals of Kwame Dawes appeared first on Los Angeles Review of Books.

from Los Angeles Review of Books https://ift.tt/2PsEphF

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