At the back of the human body, there’s a particular region where no hand can reach. Neither the right nor the left, no hand can in any way reach all those spots.
The painting, when seen by candlelight, appears faded yet moving. The flickering flame seems to enliven the picture, giving it shadow and light in ways I never could.
How can detective fiction be abolitionist? To love genre is to interrogate it, to obsess over its tropes and tricks and histories and futures, to engage with a book or a story or a movie as part of a system of repetition.
Kill the Mall is Pasha Malla’s sixth book, following two books of poetry, a short story collection, and two novels. His oeuvre is marked by its formal ambition—each work considers questions of plot, character, and narrative fresh, twisting traditional techniques into new ways of seeing.
On October 13, 2020, Erín Moure and Klara du Plessis reflected on language, translingualism, and translation at a joint poetry reading for the Atwater Poetry Project, facilitated online from Montreal by poet and curator Rachel McCrum.
When I receive a book of poetry, I know I can break the rules. I could open the book in the middle, or start from the back, or read the same lines over and over and leave some parts entirely unread.