Perigee

Place[meant]: Paul Tran

Place[meant] is a recurring series that explores identity beyond the geopolitical and physical parameters that have come to define our sense of place. From a train in Queens to the cuff of a bodily spell, the poems in this series navigate place as both material terrain and residual traces of one’s memory. Place[meant] delves into how migration, diaspora, borders, technologies of power and control, biopolitics, and historical violence shape our identities, the powers of which are anything but benign.

Making Visible the Losses of Gentrification: An Interview with Naima Coster

In Halsey Street, Penelope Grand, a young artist, moves back to Bed-Stuy, where she was raised, to help watch after her father, Ralph. Penelope finds her Brooklyn neighborhood rapidly gentrifying. She grapples with her place in this shifting landscape, lamenting her father’s lost business, while admiring the affluent white family she rents living space from, who represent gentrification’s well-intentioned but willful displacement of residents of color. As she works through her relationship to her neighborhood, she must also grapple with her family’s past, especially with the figure of her mother, Mirella, who left Penelope and Ralph to rediscover her independence in her home country of Dominican Republic. In Halsey Street, Mirella’s voice conveys the struggle to reconcile with family despite the cultural gap between Mirella as an immigrant and her American-born daughter. Alexandra Watson spoke with author Naima Coster in August 2017 to discuss her debut novel. Halsey Street is available from Amazon.

Apogee Issue 10 Launch Party

Dear Apogee Fam, Come join us in launching Apogee Issue 10!!! The party and reading will take place at Wayfarers in Bushwick on Thursday, January 18 from 7-9 pm. Issue 10 will be Apogee’s last print issue before we undergo a transformation. Editors Dennis Norris and Joey De Jesus will emcee the night.

We Outlast Empire: Kenji Liu on Frankenpoetry, Monsters, and Toxic Masculinity

Kenji Liu’s “Now I know What It’s Like” closes out “We Outlast Empire,” a series that challenges the political transgressions of our current U.S. presidency. Liu’s poem tackles the relationship between masculinity and state violence through the “frankenpo” form, which assembles together poetic fragments from various sources. This poem, along with other frankenpos, will also appear as part of Liu’s full-length poetry collection, Monsters I Have Been, forthcoming from Alice James Books in Spring 2019. 

Place[meant]: Joseph O. Legaspi

Place[meant] is a recurring series that explores identity beyond the geopolitical and physical parameters that have come to define our sense of place. From a train in Queens to the cuff of a bodily spell, the poems in this series navigate place as both material terrain and residual traces of one’s memory. Place[meant] delves into how migration, diaspora, borders, technologies of power and control, biopolitics, and historical violence shape our identities, the powers of which are anything but benign.

Place[meant]: Belal Mobarak

Place[meant] is a recurring series that explores identity beyond the geopolitical and physical parameters that have come to define our sense of place. From a train in Queens to the cuff of a bodily spell, the poems in this series navigate place as both material terrain and residual traces of one’s memory. Place[meant] delves into how migration, diaspora, borders, technologies of power and control, biopolitics, and historical violence shape our identities, the powers of which are anything but benign.

We Outlast Empire: Eda Tse

We Outlast Empire is a recurring series which aims to highlight poetry that explores the many angles of our current global and political situation. With words, we hope, we may transmute a part of ourselves—a part however small or large—that can exist without drawn borders, without violence, without injustice.