there are no Hindu deities in this poem / no goddesses that slay / stay within this poem.
there are no spices / named / after color / or skin or color / of skin
I do not wear / a saree in this / poem & when / I do/ cloth means cloth not
what you or I want it to / I will try / not / to switch / tongues or speak / with footnotes where
you’ll find / yourself / in my land / there is no land / that is mine that was / mine
to begin / with / in this poemif I do bring / up this religion we try / so hard to forgive
I could tell / you like most / our humans beget / a violence / so sharp we didn’t touch
our selves for years / when we did / we called it by another: / love & law but not history
because there is no / history in this poem / that hasn’t been rewritten first / or named the future
there were those / who caste / hate / & those who say / they never agreed on the rules
but we all watered / this fallow anyway / there are no Hindus in this poem
nor those / like me / fleeing from this word / Hindu who didn’t grow
out of this / crop we petal / the past everyday—our stomachs swollen / with blood
& ash & stolen feed / this poem will try to tell you we did what we did to exist / but the truth is
Like most / our humans beget a violence sharp / so we would rule
* * *
Sreshtha Sen is a poet from Delhi, India and one of the founding editors of The Shoreline Review, an online journal for & by south Asian poets. She studied English Literature at Delhi University and completed her MFA at Sarah Lawrence College. Her work can be found or is forthcoming in Breakwater Review, BOAAT, Bitch Media, MACK, Meridian, The Margins, and won an Amy Award in 2017. She was the 2017–18 McCrindle Foundations Fellow at Poets & Writers and currently lives and teaches in Las Vegas where she’s completing her PhD in English and Creative Writing.
Readers are encouraged to submit 3–5 poems as a PDF to Wendy Xu for consideration at firstname.lastname@example.org.
The 65-year-old man was reportedly angry that he was not granted a meeting with the Pope.
This week: New York’s disappearing alleys, Wolfgang Tillmans’s fading star, Velma Dinkley is gay, and more.
Inspired by the creation story of DeFeo’s monumental artwork “The Rose,” Lyn’s musical piece debuts at the New York City venue this October.
The technology isn’t available for public use, but Meta (formerly Facebook) released a series of eerie sample clips based on prompts like “cat watching TV” and “spaceship landing.”
There’s high demand in the country for the nostalgia-soaked Instagram videos of sister duo Zainab and Sakina Sabunwala.
This free online event celebrates Sánchez, the recipient of the Artists’ Legacy Foundation’s 2022 Artist Award, and his decades-long multimedia practice rooted in activism.
Gustav Klimt: Gold in Motion transforms a historic bank in Manhattan into the unlikely setting of an immersive art experience one visitor called “mesmerizing.”
Masterworks of American Landscape Painting at the Center for Figurative Painting makes clear that the term “landscape” has been widely interpreted.
Fall shows at the Chicago art space explore how same-sex desire became the basis for a new identity category and celebrate the cosmic work of an acclaimed Chicago-based artist.
The artist’s work quietly asks: How do we read and write the world we live in?
Warsaw Gallery Weekend and Fringe Warszawa hope to offer long-term solutions for a thriving art scene in Warsaw when skyrocketing inflation and a lack of affordable studio spaces have become the new norm.
But Greek Prime Minister Kyriakos Mitsotakis, who says the UK is “cornered,” plans to insist on the marbles’ return during a visit this year.