It did not yet boggle their minds that the insides of those things that fly also look like the insides of those that swim. They had yet to question why the bones of a fish could look like the bones of a kite. They had not known to wonder how far to look back in history for the connection.

The spindly stalks creep out from the nexus of the composition like arachnid extremities. The pronounced compression of space pushes the roughly hewn roots into the forefront for the beholder’s contemplation. The sharp points and scraggly edges of the root system prevent easy entrance into the scene. Oller creates a kind of coconut Noli me tangere: we may look, but not touch.

The Pulitzer Prize-winning author talks to Gulf Coast about trees, the transformative power of storytelling, and how writers might respond—and stay responsive to—the unique demands of this moment in both human- and tree-time.

Triple check the joist hooked / from your garage ceiling / is rated for at least 97 pounds.

Who would have thought he’d sit / so still so long, but he settles right / into our row, props his head on the velvet / armrest basking in the company

A cupboard is just asking to be opened. A cupboard doesn’t ask a question, but is, by its very nature, an entreaty. A cupboard says it did not ask to be a cupboard, did not ask to be an entreaty, is not, in fact, a cupboard at all.

Pinball takes place in a more liminal environment: those may be your physical fingers hitting flipper buttons and your real voice cussing out Bride of Pin-Bot, but your vision, your concentration—everything about you that’s more consciousness than body—moves outside of yourself and behind a thin layer of glass.

It’s still a question of how queer exhibitions can function within certain institutions without assimilating, without petrifying living works in order to propose additions to “the” hegemonic canon, but Tag proposes ways forward that walk indeterminacy with confidence.

My head often feels filled with concrete. This is not to say congested. If anything, I am rarely sick.

Like those jellyfish that swell with future oxygen, / I live into my gender, balloon constantly rising

We talked about light and dark, how to render it in paintings and drawings, and how it connects to spirit. We talked about Emerson and Thoreau. They connected their faiths to mine, to the pantheism I developed out there in the woods, and to art as faith. As I worked with artists in prison over the next couple of decades, I continued to see this transcendental connection to light and dark through their eyes.

The man was his father. How could he be so disgusted by him? His mother, long dead, always told him: your father will outlive us all, but not before he makes us suffer as much as he wants to, and more.

Their forever never lasts that long. Gone by Christmas.

This is the fantasy of self-sufficiency: healthy in a closed loop, without needing anything from anyone else.

It was night / Death slept naked / on God’s corpse

I wonder when you push at mirrors, if they slip off in your hands. I would / like to hold you, who you were at sixteen with the you I was when I was / sixteen.

At sixteen, life is supposed to be safe. Things are supposed to be beginning. We are supposed to be weaning from the care and guidance of people who have raised us. We are supposed to be on the brink of our adult lives. We should be taking the reins and figuring out how to care for ourselves, and we should have our most basic needs met so that we can care for others. It’s a volatile, dizzying, restless age. It is not always sweet.

I’d bicycle home after teaching, pumping the pedals so hard I hoped the blurred street would crack beneath them. I’d learned early how to leap—from hotel maid to fine dining server, student to teacher, dying desert town to rain-drenched city. So I left. I filled out applications, fielded phone interviews, signed a contract and flew to Hanoi, sight unseen.

The chicken crows at midnight. Crows at four o’clock in the morning. Crows when it rains. Crows when the sun sets. Crows when sirens blare down our street. Only stops crowing to eat.

Not fossil not decay unfurls / A shining ladder and makes / Rescue all. In movies / Lets loose, tears off

A neighbor assures me not to worry when the dog eats / rabbit flesh flattened on the street. Uncooked bones / are not sharp enough to hurt, turn an animal inside out.

At once hermetic and worldly, ethereal and dense, this tightly focused exhibition reflects in its contradictions the difficulties and pleasures of Rockburne’s early career, which spanned from the late 1960s to the early ’70s.

Miami Beach burns with the insatiable / ego of a galaxy, bright enough to refuse / admittance to any stars in the night sky.

She understands the place she was born into is full of shadows. They slip into her open cracks, slide oozing into the gutters of her ribs, spill against the long, unbroken lines of her legs.

For God's sake, / have a little consideration! Why wake him? / Another fisherman was sitting on a stone block, / a stone block glittering with mica.

James Baldwin once said that he wasn't able to really write about America until he left America. And I have this feeling that if you’re in a place...