This voice, able to negotiate a range of octaves and encompass the acts of remembrance, anticipation, recognition, and repetition that occur in O’Hara’s songs, was making a picture. More than that, it was making a space for the singer’s words to not only allow the pain of impossibility that exists in separation, but also acknowledge great love. And I didn’t feel sung at; there’s no showmanship in O’Hara’s delivery. Her lilt is sometimes matter-of-fact, sometimes near breaking, other times strong and angry. It’s human and animal and real. I trust it.
It always amazes me that that little mark, almost the smallest we have—the comma—can change meaning so utterly. The period—the smallest—doesn’t have the same versatility. And with changes of meaning come changes of emotional burden and impact.
REFUSAL=INTERVENTION. “Asian American Poetry” is not a manageable category—it is not a list. By Eunsong K. & Don Mee Choi
We are calling for Refusal=Intervention in the Poetry Foundation’s Poem Sampler, “Asian American Voices in Poetry: A collection of poets and articles exploring Asian American culture”—and their gracious call for our “help” to “improve this feature.” This call for help is…