Awards
2015 Finalist – The Community of Literary Magazines and Presses Firecracker Award 2015 Finalist – Longlist PEN/Diamonstein-Spielvogel Award for the Art of the Essay
2015 Finalist – The Community of Literary Magazines and Presses Firecracker Award 2015 Finalist – Longlist PEN/Diamonstein-Spielvogel Award for the Art of the Essay
When a vision disorder stole his ability to read, Will Dowd found himself exiled from the world of books—until he discovered an unusual path back through the landscape of dreams. Armed with an experimental dream-inception device from MIT, Dowd embarked on a yearlong odyssey into his own unconscious.
The Taste of Rain in Buenos Aires chronicles twenty extraordinary dream narratives born from this first-of-its-kind experiment. A service dog navigates grief after his owner's death. A time-travel tour guide loses tourists across centuries. An alien researcher falls in love with Earth despite himself. The stories in this collection emerge from a mind at its most unguarded, each one intimate, strange, and deeply human.
Part literary experiment, part exploration of consciousness, The Taste of Rain in Buenos Aires reveals how dreams, like books, can become portals to other worlds—wild, untamable places where the impossible is married to the everyday and even exile can become a form of homecoming.
In Leaves Borrowed from Human Flesh, the solipsistic self gives way to a language which attempts to recover the female body’s experience of place, and of the human and non-human creatures which inhabit it. The ethical dilemmas of representation are framed by a consciousness which allows itself to be permeated by whatever lies outside it, impinging on its boundaries to make them fluid, plural, at times, evanescent.
Divided into four sections which highlight an unmistakable female consciousness engaging with vast natural landscapes in four different continents, the collection’s evolution is towards a subtle form of resistance where anthropocentric certainties are interrogated. What starts as left-margined free verse, often using ekphrasis to highlight gender violence and resistance, leans increasingly towards the playful and experimental, at times adopting metre and traditional forms in combination with found poetry and erasure so as to destabilize the boundaries between genres. By the end of the collection, the page is no longer a mechanism for order and structure, but instead, evolves into a canvas and visual field, challenging the social order through language itself.
In Abigail Ardelle Zammit’s third collection, suffering, mortality and environmental degradation are inseparable from the poet’s relentless search for meaning. Relationships, aloneness and connectedness must be probed as inexhaustible themes in the vast trajectory of existence. Each poem is a question, an exploration of what can be unearthed through linguistic play, as well as an attempt to decolonize the self from a language that is always on the verge of running dry.