Dora Malech

Dec 9, 2024 | hopkinsreview.com | Dora Malech

December 2024Translator’s Note:Pulsating with the reckless sorrow of a young man who belongs neither to himself nor the world, Mutinous Inkblood (1991) is a cult classic of modern Korean poetry that depicts the squalor of post-war Korea. The author, Heo Yeon, aspired to become a Catholic priest before he became a poet.

Nov 27, 2024 | hopkinsreview.com | Dora Malech

you loved a bochur in the season of bluebells and crayse the night was a flat plane his light touched marrow he was a pretty boy wrapped in four corners peyres, fruits, he said and the boughs were heavy but so far away kheylev, milch, he said and the paths ran white the udders dry khleb, bread, he said and leaven precipitated out of air perhaps his long hair perhaps his too-blue eyes his slouching grace perhaps his sweated satin perhaps that misled you there is no garden here no soil for the...

Nov 25, 2024 | hopkinsreview.com | Dora Malech

I am one of many Puerto Rican writers who turned to their creative work to process the immense grief of this climate catastrophe and the neoliberal world order that fueled its disastrous aftermath. This is how I find Dorsía Silva Smith’s debut poetry collection, In Inheritance of Drowning (CavanKerry Press), which joins the ranks of books by Roque Raquel Salas Rivera, Mayra Santos-Febres, and Ana Portnoy Brimmer, among others.

Nov 11, 2024 | hopkinsreview.com | Dora Malech

Publishing in Black Fire gave him a measure of national prominence that propelled his career forward and him out of Baltimore. However, his poem “Turk,” which appeared in Black Fire alongside another of his poems, “Promenade,” has been ignored by commentators and scholars, perhaps because it fits so uneasily in its pages. Between manifestos and revolutionary rhetoric, “Turk” critiques the class and gender politics of BAM at a moment when few young Black writers dared to do so.

Oct 13, 2024 | hopkinsreview.com | Dora Malech

Jeremy: This is all excellent. And I love that moment on the porch, the way in which you complicate Laurel’s self-assuredness. I once heard someone, a writer I think, say that it’s not necessarily our differing worldviews that cause problems but rather our certainty in them. And to that end, I love the turn that we see in Laurel’s character in that scene; she recognizes the limitations of her own self-righteousness, and that’s such a powerful moment.