Disappropriating is a political operation at the core of projects acknowledging, both at ethical and aesthetic levels, that writers always work with materials that are not their own. Writers borrow from the practitioners of a language, entering in a debt relationship that can only be covered by ushering the text back to the communities from which it grew. In a world rife with violence, where the experiences of many are erased by pillage and extraction, writing among and for the dead is a form of necrowriting that may well become a life-affirming act of decolonization and resistance.
Robin Myers is a Mexico City-based translator and poet.
Francisco Cantú is a writer, translator, and author.
Also check out Cristina Rivera Garza's TWO newly-translated books published earlier this year: THE RESTLESS DEAD (trans by @robin_ep_myers ): https://t.co/7eOfe38zPb And the long-overdue classic GRIEVING (trans by @sarahkbooker): https://t.co/FSi9dLI438
author of BEAST MERIDIAN. 2019 Whiting Award, 2021 NEA, MAGICAL/REALISM Spring 2024✍🏽 @harpersbazaarus @thecut @oxfordamerican @poetsorg @thenation
Also my reference pile: Ordinary Notes by Christina Sharpe, The Restless Dead by Cristina Rivera Garza, The Man Who Could Move Clouds by Ingrid Rojas Contreras, Curb by Divya Victor, I Hold a Wolf by the Ears by Laura Van Den Berg, Dyscalculia by Camonghne Felix, cont.👇🏽
Merve Emre is a contributing writer for the New Yorker and a nonfiction author.
@DrBibliomane The final essay on COVID, hands, and the circulation of touch (read alongside the circulation of commodities) in Cristina Rivera Garza's "The Restless Dead: Necrowriting and Disappropriation."