The Vulture is a Patient Bird

By Fathima Cader One thousand hollow bones suspended from one small island’s underbelly, watery roots seeking anchorage, ours its submerged landscape of crags, broken into language and served with wooden spoons half-toned with salt’s residue, sickled for the hoarding of pre-dawn prayer, the lowering light of day, the remains of night splattered onto paddy fields, darkness packed beneath fingernails, broken from sifting through cracks in parched soil, every fissure a new stanza, a new border, from where we come and to whom we belong, this knowledge of god as place, confluence of meanings and homecomings; meanwhile, our bearing of witness, our presence, our martyrs. We saw; we saw, ya haqq, this scrabbling through time’s departures, we saw, our shahadah.  * Voices carry poorly under the sea, granulating, wires carrying roughly to me my mother reminding me that today marks thirteen years ago that we moved here, our first mooring a dollhouse Mississauga hotel, home for the singularity of one month, its corridors loud with the noise of other people’s luggage, and our first neighbours Afghani and bustling, before we knew enough to know what manner of stories subsequent years would give us to share. This is the week of voices...
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We're Not Ready for This: An Interview with Morgan Parker

Morgan Parker is a prolific NYC-based poet, activist, and museum education director. Her debut collection Other People’s Comfort Keeps Me Up At Night is forthcoming from Switchback Books in 2015, and her poems “Negro Sunshine” and “Their Grandmothers Never Did the Laundry” appear in the latest issue of Apogee Journal. Morgan chatted with fellow Bed-Stuy, Brooklyn resident and Apogee Editor-at-large Melody Nixon about race, gender and politics in the poetry world today. Melody Nixon [MN]: You wrote a Facebook post about working on this interview and all the truths you’re laying down, and you said, “No one’s ready. Not even me.” What did you mean? Morgan Parker [MP]: I think we’re all very accustomed to speaking and listening to bullshit. It’s the American way. It’s easy to avoid being candid about certain topics in mixed company. Your questions were so upfront and big, which is what I appreciate about Apogee in general, but I know a lot of people don’t want to hear it. Some people would rather hear me talk about Beyoncé or The Real World or brunch than the direct realities of my struggle as a Black woman. They want a “break” from hearing about race politics from...
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Nepantla: an Interview with Christopher Soto

Christopher Soto is the founder and curator of Nepantla, a new online journal featuring the writing of Queer Poets of Color. Nepantla offers not only a new creative space for poetry to thrive, but a new way to look at what a literary  community can be. The Journal will go live next month, and Apogee Journal and Columbia’s Our Word are thrilled to be collaborating on the launch reading September 4th. Cecca Ochoa (CO): How did Nepantla come about? Christopher Soto (CS): I was talking trash with Jameson Fitzpatrick about white supremacy and the New York queer literary scene. He gave me the idea to start a QPOC journal and then introduced me to William Johnson at Lambda, who helped me get the project started. The first thing Nepantla hosted was a dinner at NYU. We invited all the Queer Poets of Color that we knew in NYC and sat to discuss our community’s needs. Shout out to everyone who attended our first dinner: Rigoberto Gonzalez, Eduardo C. Corral, r. erica doyle, Pamela Sneed, Timothy Liu, Cheryl Boyce Taylor, Juliet P. Howard, Charif Shanahan, Rosebud Ben-Oni, Darrel Alejandro Holnes, Rickey Laurentiis, Alok Vaid-Menon, Janani Bala, Jerome Murphy, Tommy Pico, Eden...
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