WLT's Editor-in-Chief Daniel Simon interviews Karlos Hill, author of The 1921 Tulsa Race Massacre: A Photographic History. “Visual evidence of Greenwood’s destruction stands in for so many other instances of racial terror that were not visually recorded and subsequently forgotten,” - Karlos Hill
“ Who taught you / the Craft of Damsel? How to snatch breath / from the air? / He grabbed / your arm, not knowing it was made of fire/ and fuel,” from “Sarah Page,” by Candace G. Wiley
“Can a weed fake its own death / rumor itself a zombie / lavender pom-poms shrieking with laughter / accordion breaths, pleat upon pleat, / each one advocating for the drone of the next,” from “Makahiya (How Do I Tell You I Remember),” by Crystal Z Campbell
“I had been thinking of the massacre down the street from here, and how ghosts keep their place among us. How I might be a ghost set loose here in the wind, walking with a ghost of fire,” from “Somewhere,” by Joy Harjo
“Forget about the deep solidified depression after / being abandoned by fate / I take off the antistatic garment shaped like iron / netting and come from the workshop,” from “We Come from the Workshop,” by Xiao Hai
“I walk the last two stations myself, / along the river, light spills from streetlamps / spattering the pavement. / Before I know it, it’s raining. / Before I know it, it quits.” from “Is It October?”, by Toshiko Hirata
A narrator imagines what role her family might have played in a race massacre—and the generations of silence that followed.
With two weeks of food and the outside world covered in cellophane, apartment dwellers under a stay-at-home order get to know their neighbors as things grow increasingly more bizarre.
Flash fiction from the Arabic, “Whatever happened in the neighborhood, ‘Ubayd was said to be behind it,” from “The Hat Stand,” by Diaa Jubaili
A group of Chinese migrant workers, who call themselves New Workers, have been uttering their voices through the medium of literature. The emergence of New Workers’ Literature in contemporary China is significant, because it challenges the middle-class definition of literature and structure of feeling in today’s capitalist empire.
Using Bruce Charles Mollison’s How to Prepare for the Collapse of Capitalism as a starting point, Eric Schierloh partially rewrites and expands far beyond it to imagine non-industrial publishing.
WLT’s Executive Director RC Davis-Undiano offers his homage to Rudolfo Anaya, both a legend of the Chicano Renaissance and a personal friend.
Translator Paul Holzman interview Eric Schierloh, who runs a multifaceted cultural artisanry imprint Barba de Abejas, which has released forty-six titles of more than thirty authors, and around 6,600 books along with 1,900 chapbooks—each one made by hand and including ancient text to contemporary poetry.
Peter Constantine interviews South African poet Ilse van Staden, who has been lionized by critics for her work’s “important linguistic and literary reawakening for Afrikaans after the oppressive decades of apartheid that had constricted, regulated, and censored the language and its literature.”
Translator Kit Maude interviews Argentine writer Ariel Magnus, author of well over a dozen books, whose novel Chess with My Grandfather is forthcoming from Seagull Books.
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