Review: I’m Telling the Truth But I’m Lying by Bassey Ikpi

I’m Telling the Truth but I’m Lying: Essays by Bassey Ikpi (Harper perennial 2019)

Reviewed by by Michele Matrisciani

There is an entire library full of memoirs, one that grows greater every day, concerning issues surrounding mental health. Over the course of my twenty years in nonfiction book publishing, I’ve acquired, edited, and ghostwritten numerous such books, all of which I hope have contributed to the robust dialogue and much-needed de-stigmatization of this topic. Nothing I have worked on or read over the years has accomplished in quite the same way what Bassey Ikpi does in her memoir essay collection, I’m Telling the Truth but I’m Lying: Essays.

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Review: Gas, Food, and No Lodging by Devi Laskar

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Gas, Food, and No Lodging by Devi Laskar (Finishing Line Press, 2017)

Reviewed by Leonora Simonovis

The term “interculturality” has been widely used in pedagogic and academic settings to contextualize the interactions between individuals from two or more cultures. Rather than speaking about others and their differences, an interculturally competent individual seeks to establish a dialogue that acknowledges diversity and, at the same time, focuses on aspects that make communication possible and that enable an understanding of another person’s culture. In a world where borders are becoming increasingly porous, more and more writers address these exchanges in their work from a variety of perspectives, sometimes as observers, others as insiders. Such is the work of poets Erika Sanchez, Javier Zamora, Juan Felipe Herrera, Layli Longsoldier, Natalie Diaz, Sherman Alexie, Li-Young Lee or Jaswinder Bolina, to mention just a few. Continue reading

Review: The Voice of That Singing by Juliet Rodeman

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The Voice of That Singing by Juliet Rodeman (Tupelo Press, 2017)

Reviewed by Michelle Mitchell-Foust

Early in Andrei Tarkovsky’s film Mirror, a child watches the family barn burning behind their country house. It’s raining. His young mother watches too, her back to the camera, the water dripping off the porch awning. Still the barn burns. No urgency, as though a barn burning is a natural part of the landscape. Over the course of the film, in every room of the country house, the watcher has the feeling that the child, the narrator—Tarkovsky’s voice reciting his father’s poems–is living at once every age of his life. Continue reading