[Zyzzyva.]
seen from United States
seen from Morocco
seen from China
seen from Malaysia
seen from United States
seen from United States

seen from United States
seen from Belarus
seen from China
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seen from China

seen from United States
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seen from United States
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seen from United States

seen from Malaysia
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seen from United States
[Zyzzyva.]

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a violence intended to be inaccessible to the human eye
- Q&A with Brandon Shimoda: ‘the grave on the wall’ and writing with ghosts / Jason De León, The Land of Open Graves
- Q&A with Brandon Shimoda: ‘the grave on the wall’ and writing with ghosts
JULY 14: Lockdown Lit @ Lunch ft. Jessica Pearce Rotondi & Lauren Francis-Sharma
TUES. JULY 14, 11 am PST, Authors Jessica Pearce Rotondi (What We Inherit) & Lauren Francis-Sharma (Book of the Little Axe) will be featured on Lockdown Lit @ Lunch via Facebook livestream.
Find out more!
Hosted by Booksmith and The Bindery, in partnership with Zyzzyva, this a weekly salon features a group of authors with books published during the coronavirus pandemic who have banded together to support one another.
Contributor Update, Sam Sax
Contributor Update, Sam Sax
Congratulations to Sam Sax for his recent poem Hangover 1.1.2019 published in ZYZZYVA’s issue 117.
Sam Sax is a queer, Jewish, writer & educator. He is the author of Madness (Penguin, 2017) winner of The National Poetry Series selected by Terrance Hayes & bury it (Wesleyan University Press, 2018) winner of the James Laughlin Award from the Academy of American Poets. Sam has received…
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Without your knowing, the / unseen borders of your hunger are redrawn.
Jenny Xie, from “Invisible Relations,” published in ZYZZYVA
Meditative Weekend of Poetry: Heather Christle
It isn’t easy to be kind,
nor to downhill ski to freedom.
I have decided to forsake
the picture window.
I have decided that
I will not take your name.
They saved the tiny baby on the north slope.
A cavalcade of snowmobiles
swarming up the mountain.
I have decided not to leave this freezing room.
I have decided to ricochet slowly
in the abundance of small corners.
This afternoon I will accuse a founding member.
I have decided not to sniff the hands of men.
(”Do Not Name The Baby ‘Snow Bear’”, Zyzzyva V. 34 #3)
(Suggestions: I am inspired to re-read Lawrence Ferlinghetti’s poems “Constantly Risking Absurdity” and “I Am Waiting”. The poems are too long to quote here entirely, but I encourage you to read them as a bookend to Christle’s above verse because she combines aesthetics that are present in both of these Ferlinghetti poems respectively. There is the steady anaphora of “I Am Waiting” and the detailed execution of whimsicality in “Constantly Risking Absurdity”)
Meditative Weekend of Poetry: Moriel Rothman-Zecher
The other day, a man I know
had his house stolen.
He loved his house.
It felt like a step down from
murder.
I was moved to learn on Wikipedia that
William Stafford was a pacifist.
Did you know that fireflies lick
and sniff excess oxygen from summer
air, not so the season will suffocate
but so the sky won’t burn
without supervision?
This honeyslick table on which I write
is a distant cousin of the holy ark.
I don’t write on the same table
anymore.
William: I have no gods left, and you are dead but
for the internet, and a man is left without a home
and all that’s left is for all the living and lifeless
lightbulbs in the house to try their best to breathe
and recite together:
we’re sorry we’re sorry
catch fire we’re sorry
(”Pacifist”, Zyzzyva V.34 #3)
(Suggestions: I visited the Wikipedia page for William Stafford and I found the following pieces:
The final poem he wrote, the morning of the day he died:
You don't have to / prove anything,' my mother said. 'Just be ready / for what God sends.'
What he said in an interview about poetry in 1971:
I keep following this sort of hidden river of my life, you know, whatever the topic or impulse which comes, I follow it along trustingly. And I don't have any sense of its coming to a kind of crescendo, or of its petering out either. It is just going steadily along.
The above poem has such quiet steadiness that it sort of begs to be read in light of the two quotes. Preferably one-at-a-time, as a kind of preface and continual tone of the poem that you should return to as you read Rothman-Zecher’s work.)