Best Books We Ever Received As Gifts

Regardless of which winter holiday you celebrate (if any), November and December are often filled with gift-shopping trip after gift-shopping trip. While we all like that special feeling we get when we give someone a gift they adore, it’s no secret that spending hours at the mall is exhausting, time-consuming, and, quite frankly, expensive. However, the Inklette team has compiled a list of the best books we’ve ever received as gifts to remind everybody what the holiday shopping season is about (and, if you’re unsure what gift to get your book-loving friend/family member/significant other, look no further).


The Hat-Stand Union by Caroline Bird

 

51xPRiL2IeL._SX307_BO1,204,203,200_Those who know me know that I like obscure contemporary poetry (how much people are willing to let me ramble on about it is a different story). My parents gave me this volume of poetry by British poet and playwright Caroline Bird for Christmas when I was about thirteen or fourteen and just starting to become seriously interested in creative writing. Reading poems that covered a bizarre range of topics — from King Arthur to Chekov to suburban life — helped me understand that I had the agency to write about what I found inspiring, rather than what people told me to write about. Even now, in my final year of my undergraduate, I still have The Hat-Stand Union on my shelf and pull it out from time to time when I need inspiration. 

— Joanna Cleary, Blog Editor

The Underground Railroad by Colson Whitehead

 

9780345804327_lI received this novel as a gift from one of my aunts in college, and it’s travelled with me as I’ve moved from one coast to the other, and back again. It was my first introduction to the author, Colson Whitehead, who is a brilliant Black writer living in NYC, and who is also one of my earliest inspirations for the style of writing life I want to achieve. The novel itself won the Pulitzer Prize in 2017. It’s a fascinating depiction that turns the real-life Underground Railroad into a collection of underground trains, safe houses, and secret routes. It’s one of those books that I’ll always have on my bookshelf, and which consistently reminds me to return to Whitehead’s other works to see what other challenges he has in store.

— Naomi Day, Blog Editor

The Professor and The Housekeeper by Yoko Ogawa, translated from the Japanese by Stephen Snyder

 

9780099521341.jpgThis book was gifted to me by Trivarna Hariharan, the former editor-in-chief of Inklette Magazine. I had never heard of Ogawa’s work before and hadn’t read prose that felt so light, so porous. I think Ogawa’s work best reminds me of the kind of cinematic language of Ritesh Batra’s films such as The Lunchbox (2013) and Photograph (2019). But this book, in particular, read like that thin line between myth and realism even though the materiality of its story felt like a weight, even a burden at times I had to accept, learn how to carry. Since then, I have read Ogawa’s other works but somehow The Housekeeper and The Professor is one I keep coming back to, because it also incorporates and disguises behind the porosity and poetics of literary language a stunning mathematical language as well as logic, and if you read the book you’ll perfectly understand the role these two levels and anatomies of language play. 

-Devanshi Khetarpal, Editor-in-Chief

Daughter of Smoke and Bone by Laini Taylor

 

9780316133999_l (1).jpgI believe my sister gave me this book a few years ago (for Christmas or my birthday I can’t remember, they both fall in December so they tend to blur together. Both my sister and I are avid readers, so we often gift each other books, but this particular book was definitely one of my favorites.Though it took a while for me to actually open the book, once I began reading it I devoured it. The book is magical, poetic, and wonderfully poetic (I have several notes on my phone filled with pulled quotes from the novels that I use to inspire me, and I used an excerpt from the first book for an erasure assignment I was given in college). The author’s gift for world-building made me eager to get the next books in the trilogy and finish them just as quickly, and I can’t wait until I’ve forgotten enough of the series to reread it—Taylor truly knows how to wield a plot twist, and I can’t wait to experience the shock and delight of piecing the tale together all over again. 

— Savannah Summerlin, Blog Editor

The Voyages of Doctor Dolittle by Hugh Lofting

 

9780486834368_l.jpgAlthough I’ve given lots of books as gifts, I’ve never been gifted a book (other than the ones I personally requested from my parents when I was a kid). Maybe people just don’t know what to gift me because they don’t know what’s already in my collection; I don’t know. My brother, though, frequently gifts books to my 6-year-old daughter. So far, one of her favorites has been The Voyages of Doctor Dolittle. I avoided reading it when I was a kid because I hated the movie. I read it to my daughter, and we both loved it. My brother is a research scientist, so he often sends her science-y books. Another fun one he gifted her was The Number Devil: A Mathematical Adventure (Hans Magnus Enzensberger, trans. By Michael Henry Heim). Although I think my daughter needs to age a bit before she can truly appreciate it, I loved The Number Devil.

— Lisa Stice, Poetry Editor

A Necklace of Skulls: Collected Poems by Eunice de Souza

 

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Until the third year of my undergraduate degree, a lot of my poetry reading was either limited to canon, or to snippets and fragments I had read online. Reading Eunice de Souza’s work was formative for me as a poet and as a literature student not only because of the cultural similarities or her engagements with feminism, but because she spoke of the everyday with an almost unfounded sense of ease. There was this comfort in her navigation of language I hadn’t read before, which is what made her work all the more appealing – that poetry could be soft, simple, and yet impactful. 

 

— Smriti Verma, Poetry Editor

To learn more about our staff, please visit the Masthead page here.

NaNoWriMo: Planning and Execution

November is National Novel Writing Month, affectionately known as NaNoWriMo. It’s a time of year when writers following the conventional rules challenge themselves to write 50,000 words in 30 days, or at least 1,666 words per day. Others use this month to set time-based intentions (e.g. write 1 hour a day for 30 days). Two members of the Inklette team are doing NaNoWriMo this year. Here we’ve shared a little bit about our preparation processes, and what the month looks like for us.


Naomi Day, Blog Editor

This year I’m doing NaNoWriMo with a friend based on the West Coast. Since we are both relatively susceptible to burnout and didn’t spend enough time preparing our projects, we’ve decided to do a time-based (rather than word-based) month. Every day we both spend at least one full hour writing, and then text the other person a summary of how we spent that time. Since I didn’t have the time to properly prep what I was going to be working on, I spent the first day planning out what projects I’ll be working on. I will be spending the rest of the month alternating between planning the outline of a novel I’ve spent the last four years writing and rewriting, and working on a series of short stories set in a shared world. The buddy system helps keep me accountable and gets me excited to share my work with someone who cares about me independent of my productivity, and the hour system allows me enough time to get immersed in a project but isn’t so long it feels unattainable to do daily. I figure I can always take that time away from scrolling Instagram if it starts to feel like I can’t find it elsewhere!

Thus far the challenge has been in finding inspiration when I am between projects. I tend to write when a line pops into my head, or I overhear a bit of dialog that I decide to put in a short story. I have never challenged myself to write regularly when I am not working on a project. So I’ve been pushing myself to find alternate ways to get to the inspiration that keeps me writing for hours at a time. For example, when I have a vague idea what I want to write about but I’m not sure where to start, I pick up a notepad and hand write a conversation between myself and the character I am interested in. Writing by hand is important because the slower pace helps me think through my words more freely, and the conversational style helps me uncover interesting details about my characters that may give me a clue as to where to begin their stories.


Savannah Summerlin, Blog Editor

I’ve always wanted to do Nanowrimo, but balancing the act of writing over 1,500 words a day along with an already heavy load of creative writing homework mandated by my classes always proved to be too much. Having graduated in May, I have a lot less motivation to write, so I figured this might be a good year to give Nanowrimo a go. 

The first thing I did was make a bevy of different folders and document so that I could keep my ideas organized. My story idea involves several different groups of people all from the same family, so it’s vital that I keep them separate. After that I divided the characters I know I’ll need into main, secondary and tertiary characters so I know how much detail I need to go into for them (in an ideal world my tertiary characters would be as detailed as my main characters mais c’est la vie).

Strangely enough, I didn’t have a beginning, middle or end plotted out when I started writing. That aligns with my general writing strategy, if you can call it that: I’ll get an idea for a character or plot point, usually in the middle of the night, and the story starts from there. Because this story has a lot of different main characters who won’t necessarily interact with each other (think “This is Us” but everything is happening on the same timeline), I could have started anywhere. And in theory, at least in these early stages, I can change the ordering of the story components so long as I don’t, for example, put a major holiday in one, rendering the ordering stationary.


To learn more about our staff and read their bios, visit our Masthead page here

In Honor of Black Speculative Fiction & In Response to Naomi Day

BY SAVANNAH SUMMERLIN

In honor of October being Black Speculative Fiction Month and in response to the lovely and informative piece written by Naomi, another Inklette Blog Editor, I’ve decided to try my hand at writing black speculative fiction. Naomi’s piece featured a writing prompt, steps one and two being to write down something that is interesting about the world around me and consider the rules that govern it and the way that exists. The next step is to write an alternate history for whatever I’ve chosen that gives the same end result regarding its use and purpose, but in a different way. I consider myself to be a bit technologically inept, so I decided to reimagine how cell phones and texting came to be:

It’s easy to understand why adults constantly complain about millenials and the cell phones we seem to be unable to live without, but only if you know the history of how their lives were before. It’s not just cell phones that they hate; they despise the very idea of technology made for communication, because they know of a time when it didn’t exist, and didn’t need to. Though they may not have been there to experience it themselves, the stories that have been passed down in their DNA for generations, along with a loathing for the technology today’s age cannot function without.  

Long before the invention of the telephone, humans needed only their minds to communicate, even across long distances. Survival of the fittest truly was the law of the land, and it didn’t take long for humanity as a whole to realize they’d be much better off if they had better communication methods. Humans first discovered they had the gift of telepathy in a small town in South America. Two sisters, Jana and Lucia, swore up and down that they could hear each other’s thoughts at night when they slept, but no one believed them. The pair quickly tired of being ridiculed, so they took it upon themselves to prove their talent. 

For weeks neither Jana or Lucia spoke a word aloud. They spent countless hours each day in silent meditation until finally their father Daniel had had enough of their behavior. He took Lucia by the shoulders and shook her fiercely, demanding she stop her foolishness and speak to him. Lucia chose to communicate in a different manner, and sent her response straight into her father’s mind. It only took a few seconds for Daniel to go from shocked to curious and proud of his daughter’s feat, eager to learn himself. By the next afternoon, the news had spread all over the town, and because Jana and Lucia were excellent teachers, it didn’t take long for many to master the art of telepathy. 

Urged by their desire to spread their gift, Jana and Lucia left their home as soon as their expertise was no longer necessary. They travelled all over South and North America to help anyone who would listen. Lucky for them—and humanity as a whole—they encountered more people eager to learn than not, and in only a few years time, telepathy became the norm. As new generations were born and were taught the craft, humans learned how to send their thoughts further and further than ever before. 

Then along came the Industrial Revolution, and with it trouble for humanity. 

Men and women found themselves bogged down by the stresses of the day, unable to easily communicate with one another across dinner tables and office spaces, let alone send their thoughts to far away relatives. They began to panic; was this the end to life as they knew it? What would society become? They still had their oral language of course—the first humans to learn telepathy had been sure to caution that they mustn’t lose their ability to speak should something happen to their mental gift, and oh, how right they had been—but what of quick long distance communication? How would they survive in a snail-mail run world?

Enter Alexander Graham Bell. Graham Bell invented a middle man to ease the stress telepathy was putting on the humans: instead of sending their thoughts directly to one another, they would use a device to help transmit the signal of their thoughts. Once he’d completed his invention, Graham Bell gave the honor of testing it to a descendant of Jana and Lucia, Deeana. Deeana was already located far from her husband Thomas because of work, and the strain of keeping in touch with him was draining on both their relationship and her mental health. When Deeana picked up a telephone for the first time and heard Thomas on the other end, as clear is if he had sent his thoughts to her from the other side of their shared bed, she nearly wept with relief. Deeana’s seal of approval of the telephone all but guaranteed its success, and soon telepathy was a thing of the past.


SAVANNAH SUMMERLIN is a recent graduate of NYU Gallatin where she made her own major entitled “The Intersection of Arts and Activism.” Yes, it’s as cool as it sounds; no, she doesn’t have any idea what she wants to do with it. In her free time, Savannah enjoys traveling, reading, writing, and binge-watching Netflix original series.

Black Speculative Fiction Month

By Naomi Day


I recently realized we are coming to the end of October without having acknowledged the time of year that celebrates my favorite group of writers! So, here we are: happy Black Speculative Fiction Month!


What is Black Speculative Fiction Month?

Black Speculative Fiction Month, celebrated every October, is a month to commemorate speculative fiction written by and about Black folks. Individuals, libraries, authors, and organizations will often host events centered on Black speculative fiction authors and their work, post book lists highlighting authors writing in this genre, and write extensive articles calling attention to the genre and the wealth of diversity within it for folks who wouldn’t necessarily come across this work otherwise.

 

Why October?

The origin story I know of comes from author, Afroretroism expert, and gamewriter Balogun Ojetade. According to this post, he and author Milton Davis came up with the idea together one June; they chose October because the annual Alien Encounters celebration (formerly a conference for Black speculative and imaginative fiction, film and music and presently a celebration of speculative and imaginative arts) took place in October already, and it just made sense to overlap the two.

I like it because it means there are two distinct times of year to celebrate Black history in different ways: February brings us Black History Month and seven months later, October gives us Black Speculative Fiction Month.

 

Ok, so what actually is Black Speculative Fiction?

The most useful resource for this question, in my opinion, is an article from Marcus Haynes that goes through an extensive set of definitions of Black Speculative Fiction terms. To excerpt from the part that talks specifically about the umbrella term, Black Speculative Fiction refers to texts that force readers to imagine possibilities that do not fit with their present understanding of the world, with a focus on the people and cultures of the African diaspora.

 

Why is it important?

Speculative fiction is important as a genre on its own; it is one that asks us to question why our world is the way it is, and gives us the tools to think differently about changing the parts we don’t like. It helps us understand and refigure our history while we consider the multitude of courses the future could take.

Black speculative fiction does this through the lens of those who are part of the African diaspora (which is why the term “Black” is used—it makes it clear this envisioning includes Africans, African-Americans, Afro-Latin people, and so on). This is critically important because this is a group of people who are often pushed out of the present reality, not to mention excluded from visions of the future. The mere existence of Black people, particularly in America but all across the world, is too often seen as a physical and cultural threat and depicted as being against the norm. Writing Black folks into the future is an act of resistance as well as a call of hope.

And, critically, it isn’t saying that only Black people exist in the future—rather, it speaks to the wondrous and powerful events that can take place when there is a radical diversity of people stretching from now to eternity.

 

I’m in! Who can I check out?

Wonderful questions! You’ll find a short list of authors and their books at the end of this article. It’s a mixture of presently-trending folks with those who may be slightly less well known, with links (via Alibris, a marketplace for independent vendors that is a wonderful alternative to Amazon) to where you can find their books.


Additionally, to get you started on your own speculative fiction project, here’s a prompt I’ve partially adapted from an article about Margaret Atwood’s tips on writing speculative fiction:

Write down something that is interesting about the world presently around you: the dog lying on the sofa; the wooden table whose wood came from central America; the fact that you type with ten fingers (or two, or none). Consider how it came to be—what are the forces that have shaped its life such that it exists as it does? Write an alternate history that would give the same end result, but in a very different manner. For example, the wood of the wooden table was not harvested from trees: rather, the table comes from the second-most-populous species on land, an organism that shapes itself according to what is lacking in a space and will hold that shape for as long as the need is present. Have fun!


Reading list:

 



NAOMI DAY is a queer Black woman who enjoys interrogating the strange ways her mixed-race experience has shaped the way she moves through the world. Nowadays she primarily writes short stories focused on a future that actively and intentionally has Black people in it (a genre otherwise known as Afrofuturism). When she turns her life upside down and shakes hard, interesting things fall out for her to write about. She considers herself a lifetime student and much prefers the nomadic life, finding home in cities from Atlanta to London.

 

 

Experiments with Reading / Writing

The idea of finding oneself as a writer in what one reads is an attractive notion. And as difficult as it is to answer larger questions about what we write and why or how, our readership and experiences or experiments with reading can help us find answers, however changeable they may be, to some of those questions. The Inklette team tried answering some of these questions by flipping through the pages of books we are currently reading or books near us, kept an inch away from our grasp, and copying sentences or two that answer the questions of who we write for, what we write about, why we write, when we write and where. We hope you enjoy this blog, not only as a potential reading list to kick off the fall but also as an experiment in reading ourselves in what we read.


Devanshi Khetarpal, Editor-in-Chief 
from Neapolitan Chronicles by Anna Maria Ortese (trans. Ann Goldstein and Jenny McPhee)

 

Who do you write for?

He must have left Milan some time ago.

What do you write about?

Silence, swift memories of another life, a sweeter life, nothing else.

Why do you write?

Much like the previous evening in Chiaia, although it wasn’t yet the same hour, here, too, there was a great commotion, a feeling of extraordinary excitement, as if something had happened– a murder, a wedding, a victory, two horses breaking loose, a vision– but then drawing nearer I saw it was nothing.

When do you write?

On the evening of June 19 (evening in a manner of speaking, since the sky was bright and the sun was still high over the sea, its glare intense), I boarded the #3 tram, which runs along the Riviera di Chiaia to Mergellina.  

Where do you write?

This cafe is at the intersection of Piazza Trieste e Trento and the tortuous Via Chiaia. 


Angela Gabrielle Fabunan, Poetry Editor
from Love, Death, and the Changing of the Seasons by Marilyn Hacker

 

Who do you write for?

“For you, someone was waiting up at home. 

For me, I might dare more if someone were.”                        

– from ‘Runaways Café I’

What do you write about?

“I broke a glass, got bloodstains on the sheet:

hereafter, must I only write you chaste

connubial poems?”                                                             

– from ‘Eight Days in April’

Why do you write? 

“Now that we both want to know what we want,

now that we both want to know what we know,

it still behooves us to know what to do:

be circumspect, be generous, be brave,

be honest, be together, and behave.”                                   

– from ‘Runaways Café II’

When do you write? 

“Hello, sweetheart, it’s seven-twelve AM.”    

– from ‘International Women’s Day, 1985’

Where do you write? 

“Where I see only you, where you can see me.”

– from ‘Having Kittens About Having Babies III’


Sophie Panzer, Prose Editor
from The Slow Fix by Ivan E. Coyote

 

Who do you write for?

So far, Kirsty and Mouse are my favorites. 

What do you write about?

I am a collector of stories, a connoisseur of character, so for the most part I love the random way that traveling strangers enter and exit people’s lives. 

Why do you write?

I can still work in my underwear, but I hardly ever eat soup right out of the pot anymore. 

When do you write?

Was it when all the cute rock-climber girls went back to school and the rednecks didn’t?

Where do you write?

Like I said, I love Amsterdam.


For staff bios, please refer to our Masthead page here. Amazon links to purchase books can be accessed by clicking the titles. 

Indigenous Voices

by Joanna Cleary and Maria Prudente

Having celebrated Canada Day and the 4th of July earlier this month, many people in North America may be feeling more patriotic than usual. However, it is of utmost importance during these days of national celebration to acknowledge and pay respect to the voices of those who rightfully claim first ownership of these lands. Here are some provocative, humourous, heartbreaking, and, above all, relevant works by Indigenous writers that you should definitely put on your summer reading list!


The Absolutely True Diary of a Part-Time Indian 
Novel, Sherman Alexie 

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“I draw because words are too unpredictable.

I draw because words are too limited.

If you speak and write in English, or Spanish, or Chinese, or any other language, then only a certain percentage of human beings will get your meaning.

But when you draw a picture, everybody can understand it.

If I draw a cartoon of a flower, then every man, woman, and child in the world can look at it and say, “That’s a flower.”

So I draw because I want to talk to the world. And I want the world to pay attention to me. I feel important with a pen in my hand. I feel like I might grow up to be somebody important. An artist. Maybe a famous artist. Maybe a rich artist.

That’s the only way I can become rich and famous.” 

 

Junior, an aspiring cartoonist, has mixed feelings about growing up on the Spokane Indian Reservation. As he decides to take his future into his own hands, Junior leaves his school on the rez to attend an all-white farm town high school, one where the only other Indigenous presence is the school mascot.


Talking to the Diaspora 
Poetry, Lee Maracle

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“Some sons are trees

 

Quiet mist magic memory oddly named sequoia

General somebody or other who killed us

killed his own

killed worlds

then came to rest a crest on this man-tree”

                                          -from ‘Archer’s Body’ 

 

The second collection of poetry by one of Canada’s most prominent contemporary authors features a look at diaspora and identity that is both intimate and larger than the individual experience.


They Called Me Number One: Secrets and Survival at an Indian Residential School 
Memoir, Janet Rogers

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“I read somewhere that everyone is born with the potential for success, and it is only through life’s experiences that we develop or destroy that potential. For many Aboriginal people, our most vulnerable and impressionable years, our childhood years, were spent at residential schools. Our mental, emotional and spiritual growth was extremely stunted because of the way we were treated there. You have to tell our story like it is, don’t hold back or make it seem like it wasn’t as bad as it actually was. People have to know and believe what happened to us.”

A defining part of Xatsu’ll chief Bev Sellars’ childhood was spent as a student in a church-run residential school. This honest and evocative memoir details her time at St. Joseph’s Mission, as well as how it has affected her and her family over generations. As Sellars discusses trauma, diapora, and healing, she makes it apparent that it is only through knowing the truth about these past injustices can we, as a society, can begin to properly address them.


Islands of Decolonial Love 
Short Stories, Leanne Betasamosake Simpson 

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“bringing up trauma from my life made therapy-lady cry, especially if it was “aboriginal” themed. she said “aboriginal” a lot, and i knew she was trying to be respectful so i planned on letting it slide until the breaking point and then i was going to let her have it in one spiralling long manifesto. therapy-lady liked to compare my life to refugees from war-torn countries who hid their kids in closets when airplanes flew over their houses. this was her limit of understanding on colonized intimacy. she wasn’t completely wrong, and while she tried to convince me none of us had to hide our kids anymore, we both knew that wasn’t exactly true. i knew what every ndn knows: that vulnerability, forgiveness and acceptance were privileges. she made the assumption of a white person: they were readily available to all like the fresh produce at the grocery store.”

Simpson’s debut collection of short stories explores the lives of contemporary Indigenous peoples and communities, especially those of her own Nishnaabeg nation.

Heartbreaking, absurd, and real, these stories aim to capture all aspects of what it means to be Indigenous in a world that has been taken from Indigenous people.


Prairie Rising: Indigenous Youth, Decolonization and the Politics of Intervention
Ethnography, Jaskiran Dhillon

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“The persistent sensation of being hunted, of monitored movement, of freedom being truncated through institutional caging is central to the daily reality of being an Indigenous youth in Saskatoon. It is not an anomaly. It is not the fictitious creation of a youthful imagination on overdrive. Through their existence as Indigenous youth, these young people constitute a direct threat to an already existing settler social order.” 

Dhillon’s ethnography sharply examines the indigenous-state government of Saskatoon, Canada’s strategy of dispossession and the state’s failure to uphold human and political rights of the indigenous community. We learn that indigenous alliances meant to help indigenous women, lack representation for whom they are advocating: indigenous women. Dhillon, who grew up on Treaty Six Cree Territory in Saskatchewan, details the state’s refusal to look for missing indigenous women and its failure to include indigenous participation in what they deem to be a community in need of reform. Are Canada’s state advocacy organizations merely visible tokens for what they consider invisible problems in their own country?


To read staff bios, please visit our Masthead page here.

Kempt

I’ve been living in my body for many years. It has changed. Girls my age use tweezers and razors, but I let my hair spread lawlessly. When I’m in the bathroom, I take a shower, look in the mirror, and observe the strays that nest beneath the wingspan of my eyebrows. I let them be, wild as beasts beside our backyard creek. I seldom ask for money to visit the drugstore. Deodorant, a little shampoo, and conditioner is all I need. My father says, just use soap. Tried that once. There were flecks in my hair that wouldn’t come out. I walk into my bedroom. Instead of grooming, I use my fingers to draw shapes and shades late into the night. There’s no T.V. My brother is gone. He stole a credit card and was off to Thailand. But there is peace in the house.

Then one night my brother returns home.

A mildewed backpack and a ripped sleeping bag are flung beside the front door where he walks in.

He steps into the bathroom. Unlike me, he loves to shave and pluck the hairs on his body. 

He’s hairy because my mother struggled with infertility for three years. She swallowed a lot of testosterone right before she got pregnant with him.

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‘My Brother’s Death’ by Chuka Susan Chesney, Watercolor with Pen and Ink, 2015

The bathroom door remains locked for many hours. When I have to go, I use the powder room.

When he comes out, the counter is covered with dark stubble, as if it had grown a beard. The razor on the sink is full. I look in the tub. A ring and black, curled pubic hairs blemish the porcelain.

“Clean it up,” my mother tells me. “It’s good practice for when you’re married.”

My brother shaves his cheeks above his beard, his upper arms, his back, and wherever else he can reach. He sculpts his eyebrows because he wants to be pretty.

When he’s not shaving and plucking and tweezing away, he simmers mussels in the kitchen─and leaves a mess. 

After he eats, he drives off in his dented Firebird.  

“He’ll turn up again like a bad penny,” my father remarks.

My brother calls us from the E.R. with a broken jaw. His brakes went out. The car swooped down the hill and wrapped around a traffic pole. 

My father picks him up at 2 a.m.

My mother blends oxtail soup in the blender for him.

When his jaw is healed, he steals a credit card─again.


CHUKA SUSAN CHESNEY has a BFA in Fashion Illustration from Art Center College of Design and an MAT from Occidental College. She is an artist, poet, curator, and editor. Her award-winning paintings and sculpture have been shown in galleries all over the country. Her poems have been published on three continents. You Were a Pie So We Ate You, a book of Chesney’s poems was the winner of the 2018 San Gabriel Valley Poetry Festival Chapbook Contest. In October 2018, Chesney curated the “I Pity da Poe” exhibition at the Hive Gallery in Downtown L.A. In November, Chesney hosted a poetry reading with Don Kingfisher Campbell at the YEAR ONE exhibition featuring Loren Philip and Tomoaki Shibata’s collaborative art at Castelli Art Space in Mid City. Chesney’s anthology of poetry and art Lottery Blues, coedited by Ulrica Perkins will be published by Little Red Tree Publishing in 2019.