These elegant poems about the wondrous and subterranean career of fear move us in this ancient way, literally and figuratively--It is important for you to lose both/body and mind. Doshi promises to be “an immortal mosquito”, “humming in the dungeons” of our “auditory canals”, hastening us “towards fury”. Sumana Roy in MINT (READ THE REVIEW)
kamila & tishani reflected in anish kapoor's tall tree & the eye, london 2009
INTERVIEW WITH KAMILA SHAMSIE
"There is a responsibility when you have the ability to write about what’s going on in the world, when you see certain stories aren’t being told, or are being mistold. You’re a writer and you have the voice and the platform and the intelligence, but you choose not to do it because you don’t want to get your hands dirty with the political. Then I think you’re really failing." READ MORE
"There is a responsibility when you have the ability to write about what’s going on in the world, when you see certain stories aren’t being told, or are being mistold. You’re a writer and you have the voice and the platform and the intelligence, but you choose not to do it because you don’t want to get your hands dirty with the political. Then I think you’re really failing." READ MORE
photo: chloe aftel
INTERVIEW
WITH
GEORGE SAUNDERS
"The primary stance of the artist, in my view, is one of curiosity and openness — not just “deciding” on an issue and then “demonstrating” it. So my approach is to try to feel my stories deeply — to come (through revision) to really care about the people in my stories, and wish the best for them (even if they are stinkers) and, in this way, try to generate some moral-ethical heft." READ MORE
WITH
GEORGE SAUNDERS
"The primary stance of the artist, in my view, is one of curiosity and openness — not just “deciding” on an issue and then “demonstrating” it. So my approach is to try to feel my stories deeply — to come (through revision) to really care about the people in my stories, and wish the best for them (even if they are stinkers) and, in this way, try to generate some moral-ethical heft." READ MORE
tishani doshi by carlo pizzati
AN INTERVIEW
WITH HELTER SKELTER MAGAZINE
"I think we all carry our identities quite heavily around with us, and I feel we should break them. I read somewhere that every seven years every cell in our body is replaced, so we essentially become new human beings, and even if it’s not true I like the idea of it, because while identity is important, it is also a kind of cage that fixes upon us." READ MORE
KARTHIKA NAIR SPEAKS TO TISHANI DOSHI ABOUT GIRLS ARE COMING OUT OF THE WOODS
"How do you write about violence without perpetuating it? What do you do with it? In the poem, Meeting Elizabeth Bishop in Madras, I’m thinking of the pain awaiting my teeth, of what it might be like to encounter Bishop there, of her poem, In The Waiting Room, and her contention that pain connects us. A greater violence would be a disconnect. To not feel someone else’s suffering. And this is where poetry enters, and dance and film." READ MORE
"How do you write about violence without perpetuating it? What do you do with it? In the poem, Meeting Elizabeth Bishop in Madras, I’m thinking of the pain awaiting my teeth, of what it might be like to encounter Bishop there, of her poem, In The Waiting Room, and her contention that pain connects us. A greater violence would be a disconnect. To not feel someone else’s suffering. And this is where poetry enters, and dance and film." READ MORE
Tishani Doshi by Peter Akeson
INTERVIEW
WITH
DESI LOUNGE
"You cannot live life in nonstop crescendo. You will stagger and fall. At least for me, it’s in the movement from slow to fast that life is lived, that books are written." READ MORE
WITH
DESI LOUNGE
"You cannot live life in nonstop crescendo. You will stagger and fall. At least for me, it’s in the movement from slow to fast that life is lived, that books are written." READ MORE
GIRL IN A BOX
PORTRAITS BY RICCARDO CAVALLARI
PORTRAITS BY RICCARDO CAVALLARI
