“This is the peace of upper atmospheres. This is the idea of flying. The dream of it, of being that eagle, the sound of wind steadily pushing past our feathers.”
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“This is the peace of upper atmospheres. This is the idea of flying. The dream of it, of being that eagle, the sound of wind steadily pushing past our feathers.”
The City We Became isn’t simply a jarring attack on white privilege, it’s a necessary nudge towards reality. When Aislyn befriends the Woman in White, the novel’s antagonists become its two white women. By inverting white savior tropes, Jemisin shows how systemic advantages have weakened cities while diversity remains their strengths.
I’ve never had an office, apart from the sad, windowless closet I occupied as a grad student. I don’t own a desk. Some days I work at my kitchen table, but more often I sit on my couch or in bed with my computer on my lap. Music, rather than location, is what grounds me as I write.
“By describing how the practice of writing interacts with the act of listening to music, the essays in “Music for Desks” aspire to a similar magic. These pieces will be exploratory in nature—in all senses about process, rather than result.”
What’s so important about the story of early LA rap is not that these guys started out deciding that they would create “Fuck tha Police,” or, for that matter, “Findum, Fuckum, and Flee.” The point is that they worked to create a platform for themselves—for Black youths—to say whatever they wanted to say. That’s their most powerful legacy.
There will always be political and social unrest, but a pandemic filters everything—we are all characters in its story.
On the train back to Grand Central, the city itself did not feel enough for me. I longed for the presence of another human being—a person I can touch, feel, and shelter with—to save me from the coming isolation of the second wave.
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