Sofia Belimova

sbelimova

Writing from the 2022 Outpost Fellows

November 21, 2022 Essays, Poetry

A note from Outpost founder Ricardo Wilson

Launched in 2022, Outpost is a residency for creative writers of color from the United States and Latin America. Each September, we welcome two writers and award them with a stipend as well as complimentary travel, lodging, and meals to spend a month cultivating a generative writing community in the mountains of Southern Vermont. STEFFAN TRIPLETT and MARICEU ERTHAL, whose work you will encounter below, are exceptionally talented, and we feel quite privileged to have had them represent Outpost’s inaugural cohort. Thanks to the ongoing support of our funding community, we have been able to increase the stipend to $2,000 for our 2023 cohort. Applications are open and will close January 15^th.

Friday Reads: November 2022

November 11, 2022 Reviews

Curated by SOFIA BELIMOVA

We launched Issue 24 last week, which features an exciting medley of writing: pieces about journalists and translators, forest fires and traveling icebergs, ghosts, cousins, and parents. Wondering what our contributors are reading? Check out their book recommendations below:

Guy with a Gun

October 31, 2022 Issue 24, Issue 24 Poetry, Poetry

By MATT DONOVAN

There’s the phrase once again—The only thing that stops a bad guy with a gun—this time pasted on a Subaru’s fender, its rote answer tagging along in a faded Wild West font. Today, though, idling in traffic, instead of knee-jerk counterarguments and a few remembered memes, I’m thinking of a guy I met in Newtown, Connecticut, who had a son in the first grade at Sandy Hook Elementary when the shooting took place. His kid is alive—that should be said from the outset—but since the guy was teaching science at the middle school across town when the frantic texts and rumors and lockdown began, for a few hours he wasn’t sure if his son had been shot. His son is alive because the shooter chose to step into a different classroom, but at first no one knew what had happened, including the guy’s wife as she drove up to the school to build gingerbread houses and instead found an empty car blocking the road with the driver’s door open. By then she could smell gunpowder searing the air. By then there were sirens in the distance and soon a police officer held the gathered parents back as a group of children came running, one of whom was covered in blood and said, as she reached for her mom there in the crowd, I’m alright, but the other kids are dead. All of which is one reason why, when the emails and online postings began claiming that there hadn’t been a shooting, that all of these parents were lying, that the grief of Sandy Hook was being performed, the guy’s wife felt compelled to respond, to say what happened had happened. I was there, she wrote back, I was there. But the voices continued, a chorus that wouldn’t stop calling the guy’s wife liar, conspirator, no matter what facts she gave. When the threats began—I’m bad for people’s health, someone wrote on her Instagram. Wait until I find your children—the guy and his wife went to the police who said there was nothing they could do. Passwords were changed, users were blocked: the taunts continued. After she wrote The stalking needs to stop, someone responded by posting a picture of their son they had found online and wrote This is stalking, bitch. Which is when the guy renewed his permit to carry a gun and began slipping his .45 into its holster whenever he left the house. Perhaps you think you know where this is going. Perhaps this seems as predictable as any sloganeering phrase. Except this story refuses to be reduced to a single phrase. The guy kept his gun close, not knowing what else to do. When he felt its heft—running errands or driving his car—maybe it seemed as if order could be restored, a sense that he might be able to stop the worst thing from becoming still worse. One morning, the guy drove to the middle school where he’d been teaching for years and, running late for a meeting, he stepped into the building still carrying the gun in a holster under his coat. Maybe he wasn’t thinking. Maybe it was carelessness, arrogance, indifference to the rules. The guy knows that calling this a mistake doesn’t cut it. Closer would be some word that doesn’t exist for a fuck-up spilling out of desperation or perhaps a desire to shield while also circumventing grief and trying to find some kind of foothold in the wake of twenty children being shot in his hometown. But the guy isn’t interested in the words we might choose. Instead, he’s thinking about the choices he should have made instead of strolling to the photocopier to prepare for class and watching the machine’s light flare a few times across his hands as he pressed and held a book’s spine before he was approached by the principal and asked to lift up his jacket. He knew then he’d be leaving in handcuffs. He didn’t yet know that he’d lose his teaching license or that the prosecutor’s first offer would be a year in prison with a four-year suspended sentence. That without written permission he could never again pick up his son after school, or attend school events, or vote at a public school. That any future employer would see his mugshot online. That some of his friends in town would never speak to him again, and instead he’d find himself standing in a shaded corner of his yard, unemployed, listening to the traffic push past, telling his story to some guy who, for whatever it’s worth, didn’t know what words to say.

Friday Reads: October 2022

October 7, 2022 Reviews

Curated by SOFIA BELIMOVA

As the weather gets cooler and rainier, you may find yourself looking to spend time indoors with a good book and a steaming cup of tea. In this installment of Fridays Reads, we bring you exciting book recommendations from two of our volunteer readers, which dwell on dark, absurd, and solitary experiences.

Caren Beilin’s Revenge of the Scapegoat, recommended by Grace Ezra (reader)

“The sun develops as it ends. The color gets so stabby.”

Hard and luminous, Revenge of the Scapegoat scowls as the reader delights. Beilin has set out to examine the expression, cultivation, and inheritance of the scapegoat’s situation, not shying away from the unyielding responsibility of the role. Not only is this novel undoubtedly accomplished, Revenge of the Scapegoat had me laughing myself feral.

Beilin’s narrator, Iris, is working as an adjunct at an arts college while toiling with her husband, Joe (an alcoholic who insists that the road to sobriety has been paved by microdosing heroin) and a recent diagnosis of autoimmune rheumatoid arthritis at only thirty-six years old. Her two feet seem to be most affected by the pain, affectionately named Bouvard and Pécuchet after the title characters of Flaubert’s posthumous novel (“the only one lit majors and bookstore owners read”). Iris’s chummy feet quickly become major characters in the story; they exercise dignity and concern as well as good humor. The two fall into asides about history and literature, compelling the reader to group the pair with the other eccentric artists that make Revenge of the Scapegoat such a gratifying indulgence in the absurd.

I haven’t even gotten to the part of the book that thrills and sets the story to motion. Iris receives a collection of letters written to her by her father in which he ascribes heaps of cyclical family trauma to her. The first time that she received these letters was when she was a teenager, though Beilin makes it clear that the inauguration of the family scapegoat happens in childhood. Iris (as alter ego “Vivitrix”) clears off to the Pennsylvania countryside, where she’s employed by a stirring gallerist and apathetic widow, Caroline, and her “Heathcliffish” son, Matthew. There are also heart-stepping cows, but I’ll save all of that magic for the actual read.

Revenge of the Scapegoat was a transference for me: not an escape, but that rare book that takes you somewhere completely new, strange, and fantastic. It would normally be a big ask for a book to take me “in that fetid twilight marinade refusing suicide barking at peaches in a pact with the unrevealed,” but for Beilin, she can serve it up with potency and pleasure.

Vladimir Nabokov’s Invitation to a Beheading, recommended by Tyler Hayes (reader)

“I have no desires, save the desire to express myself—in defiance of all the world’s muteness.”

Invitation by Vladimir Nabokov follows the surreal—but not unfamiliar—events following the trial and indictment of one Cincinnatus C., an intelligent but quiet man. While imprisoned with him, we meet laconic guards, pernicious spies, and even butterflies. We learn that he has been charged with nothing more than “gnostical turpitude,” and that the punishment is death by decapitation.

In the end, Nabokov’s achievement here is in dispelling the notion that we can transcend absurd performance—let alone find joy—in the presence of those who don’t understand us. His deployment of incisive, subtle duplicity, which manifests as both humor and pathos, is virtually unmatched at this word count. Read it as both cause and cure for solitude.

September 2022 Poetry Feature: Ama Codjoe—from BLUEST NUDE

September 29, 2022 Poetry

This month we welcome back TC contributor AMA CODJOE, with poems from her new collection, Bluest Nude, from Milkweed Editions.

Ama Codjoe is the author of Bluest Nude (Milkweed Editions, 2022) and Blood of the Air (Northwestern University Press, 2020), winner of the Drinking Gourd Chapbook Poetry Prize. Her recent poems have appeared in The Nation, The Atlantic, The Best American Poetry series, and elsewhere. Among other honors, she has received a Rona Jaffe Foundation Writer’s Award, a Creative Writing Fellowship from the National Endowment for the Arts, a NYSCA/NYFA Artist Fellowship, and a Jerome Hill Artist Fellowship. She lives in New York City.

Table of Contents:

Of Being in Motion
On Seeing and Being Seen
Bluest Nude

Read Excerpts by the Restless Books Prize for New Immigrant Writing 2022 Finalists

September 15, 2022 News and Events

The ethos of the modern world is defined by immigrants. Their stories have always been an essential component of our cultural consciousness, from Isaac Bashevis Singer to Isabel Allende, from Milan Kundera to Yiyun Li. In novels, short stories, memoirs, and works of journalism, immigrants have shown us what resilience and dedication we’re capable of, and have expanded our sense of what it means to be global citizens. In these times of intense xenophobia, it is more important than ever that these boundary-crossing stories reach the broadest possible audience.

Now in its seventh year, the Restless Books Prize for New Immigrant Writing supports the voices of immigrant writers whose works straddle cultural divides, embrace the multicultural makeup of our society, and interrogate questions of identity in a global society. This prize awards $10,000 and publication with Restless Books to a debut writer. This year’s judges, Tiphanie Yanique, Deepak Unnikrishnan, and Ilan Stavans, have selected the below four finalists. Click on the links in each section to read excerpts from their books.

Antropófaga

September 15, 2022 Fiction

By ANANDA LIMA

Excerpt from Craft.

She devoured tiny Americans that slid out of a vending machine. Their thin metallic plastic packages almost opened themselves when punctured. Emerging with their tiny hands on either side of the rip, they declared their nutritional value (calcium, sugar, fat, 350 mg of synthetic protein). So many times she decided to diet and promised: no more Americans. But she always walked by, with an eye on the spot between the Ruffles and the Doritos, salivating. And before thinking, there she was again, inserting the coins, hot and sweaty from her palms, into the machine’s mouth.

In the Rain, Sugar Runs in Tears

September 15, 2022 Fiction

By GEIMY COLÓN

Except from Nobody Here Plays Little Kid Games.

The blackout falls over the neighborhood like thick ink, darkening everything, forcing things into slow motion. It is like night on night—a doubly deep darkness. There are no stars lighting the block in the rainstorm.

Heavy rain hitting the roof runs off the metal awning over the terrace. The rain insulates the house in a liquid static that blocks out all other sounds. The musicality of this static brings peace to the house. Inside the house, the refrigerator ceases its loud humming. Fans stop whirring. The buzzing of the overhead lights grows silent.

Excerpt from BETWEEN THIS WORLD AND THE NEXT

September 15, 2022 Fiction

By PRAVEEN HERAT

“Mr. Federenko come soon,” the driver said, lugging Fearless’s duffel up the stairs.

Above, on the landing, he saw a blur of pattering feet and what looked like a cowled figure disappearing through a door—but it must have been his mind playing tricks, he told himself. And the rain was disorienting; it hammered on the stairwell’s skylight like a hundred hundredweight of masonry nails tossed from above. Fearless’s work as a war photographer had taken him everywhere save Asia, so the sheer speed and volume of the monsoon surprised him. When the driver led him through the open door of a whitewashed apartment, he was stunned to see the water reaching pedestrians’ knees from its balcony, the thoroughfares now canals traversed by cars and tuk-tuks that left parabolae of foam rippling in their wake. Clothes stuck to people’s skin. Ropes of water twisted from awnings.

Brenda Smith

September 15, 2022 Fiction

By A. MOLOTKOV

Excerpt from A Bag Full of Stones.

The dry spot on the pavement vaguely resembled a human shape. “Where’s the body?” Detective Brenda Smith asked.

The residential street was lit with soft yellow lights floating over a long hedge. The moon sat on top of a building on their left. The air smelled of water: rain, rot, autumn. It was 6:17 a.m. Brenda was cold, her skin tight from the sense of dread and responsibility.

‹
2
3
4
5
6
›