by Azadeh Amirsadri
I lived in Philadelphia in 1977 and would go to the Gallery mall on Market Street, a walking distance from our river front apartment. One day, around lunch, I decided to get Chinese food at the food court and looking for a place to sit, I asked two older ladies if I could sit at their table, since the place was packed. As I was picking through the food, separating the celery and water chestnuts, one of the old ladies said “It looks like you are digging for gold.” I not only didn’t understand what she meant,I wasn’t even sure she was talking to me. She pointed to her rings and then to my ring and enunciated “looking for gold” with a smile. I had a game I played when I wasn’t in the mood to speak English, so I said I didn’t understand, which was true in this case. She pointed to my ring and said “You are looking for gold” and again I smiled politely and went on separating the food and trying not to make eye contact and not to engage. She told her friend “I wonder where she is from” and later “I bet she is rich because she is wearing a lot of jewelry” and they went on talking about me and I went on pretending I didn’t understand what they were saying.
Another time, I was at the window seat of a domestic flight and didn’t want to speak to anyone. The couple next to me was anxious and they were catastrophizing about their luggage not arriving at their destination, about the drinks and snacks not being enough and were trying to reel me into their conversation. I looked at them, shook my head and smiled, and pretended I didn’t understand them. I was trying to sleep anyway, but when the flight attendants came with the drinks cart, the couple got agitated and woke me up saying Coke? Coke? Then they talked about how I will miss getting a drink, and returned to all the bad things that were about to happen.
Learning English was rather easy for me; perhaps because my mother had told me from an early age that I was good with languages. Also, speaking two other languages made it easier to learn a new language. I attended classes in Falls Church, VA in a trailer behind an elementary school with other adults who were new to the country. Our group was made up of a lot of Vietnamese people who had arrived as boat people, Central Americans running from civil wars, and of course Iranians. Our teacher was Mrs. B and I was amazed at how cool it was to just have a letter for a last name. Of course, I had no idea that ESL teachers do this to simplify their longer names for their students who are already struggling with learning a new language. The Iranians in class were mostly kind to each other, respecting our social norms, yet also very competitive. Since we couldn’t communicate with the other groups, we kept our dramas within our own. Read more »



Sughra Raza. Meadowstream Afternoon, Maine, 2001.
By all accounts, Alexandre Lefebvre’s new book,
Enjambment is often an invitation to surprise. The line following a deftly deployed line break can serve as an answer to a question; it can, when done well, have an oracular quality, the feeling of a koan. Take for example Cameron Barnett’s powerful poem “Emmett Till Haunts the Library in Money, MS” published in his 2017 collection The Drowning Boy’s Guide to Water. Written in the voice of Till, the fourteen-year-old Black child from Chicago lynched in Mississippi in 1955 whose murder drew attention to anti-Black violence in the United States, Barnett’s poem uses line breaks as a means to defer meaning between stanzas, and thus to generate a heightened sense of awareness. Taking as its conceit the otherworldly haunting of the Money, Mississippi library, a liminal, bardo-like space where Till’s consciousness is able to narrate even after death, the narrator’s individual thoughts are often divided across stanzas, a line break functioning as a type of psychic pause before the thought is completed. For example, in the final line of the first stanza in a three-stanza poem, Barnett writes “Mamie always preached,” completing that thought at the first line of the second stanza with “good posture, so I sit straight at least.”
Books on nature abound. More recently, physicist Helen Czerski’s deep knowledge of the seas functioning as an ‘ocean engine’ in Blue Machine: How the Ocean Shapes the World, elevates our understanding of the ocean and provides us with a new appreciation of its integral role in the Earth’s ecosystem. Volcanologist Tamsin Mather ‘s Adventures in Volcanoland: What Volcanoes Tell Us About the World and Ourselves is also another beguiling journey into the awesome history of the ‘geological mammoths’ that are volcanoes and their dynamics, that have changed the surface of the Earth and impacted on its environment.
Michele Morano: Philip Graham has long been one of my favorite writers to read and to teach because of his insights, humor, and ability to challenge what we think we see. A versatile author of fiction and nonfiction— whose work has appeared in The New Yorker, Paris Review, Washington Post Magazine, McSweeney’s and elsewhere—Graham chooses subjects that explore the rippling surfaces and deep currents of domesticity at home and abroad. Each of his books illustrates Graham’s powers of perception, interpretation, and experimentation, along with his irrepressible interest in people, the more varied and unlike himself, the better. And each has contributed to the perspective of his latest project.






It’s raining in Russia. Thunderheads boil up in the afternoon heat over there, behind the limestone block fortress on the other side of the river. Which is not a wide river. You can shout across it.
Sughra Raza. On the Train to Franzensfeste. September, 2024.
Even if you are sympathetic to Marx — even if, at any rate, you see him not as an ogre but as an original thinker worth taking seriously — you might be forgiven for feeling that the sign at the East entrance to Highgate Cemetery reflects an excessively narrow view of the political options facing us.