Author: redict239

Writer and Teacher

Political Illiteracy: How Audiobooks Saved Me

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Maybe not audiobooks.

Maybe it was my American French teacher at UCLA Extension who carried copies of a communist newspaper in her knapsack and had a knack for pulling her hair back like Simone de Beauvoir.

Maybe it was Mexico City in the 1980’s and the pamphlets on Central American revolution.

Or maybe it was 12th-grade me reading Canto General I by Neruda -– prior to his rape confession.

Audiobooks A-H

Anarchism and Other Essays by Emma Goldman

Antonio Gramsci’s Prison Notes by Lorenzo Fusaro and Jason Xidias

Autobiography of Malcom X by Malcom X, Alex Haley

Back to Black by Kehinde Andrews

Black Against Empire by Joshua Brown and Waldo E. Martin Jr.

The Black Jacobins by C.L.R. James

Black Marxism by Cedric J. Robinson

Black Reconstruction by W.E.B. Du Bois

Brief History of Neoliberalism by David Harvey

China’s Second Continent by Howard French

The Communist Manifesto by Marx and Engels

A Concise History of the Haitian Revolution by Jeremy D. Popkin

Conquest of Bread by Pyotr Kropotkin

The Cultural Revolution by Frank Dikotter

The Declarations of Havana by Fidel Castro

Empire of Illusion by Chris Hedges

Freedom is a Constant Struggle by Angela Y. Davis

How Europe Underdeveloped Africa by Walter Rodney

***

Possibly it was my grandmother’s stories about 1920’s Tennessee.

***

I began living with my grandmother when I was five years old.  And she might have been that same age in Memphis when she started playing with the White girl across the way. It was coincidental that I heard my grandmother’s story at my age since the story was probably directed at my nine-year-old sister more so than me.

I’m not sure what Grandmom and the girl played with. A ball. Maybe rocks.

In Tennessee, my grandmother was the youngest of twelve kids. I don’t know if she ever got to see her sibling who passed away as a baby. I’m also not sure if she ever met her brother who disappeared. That was Wiley who went for a walk one day and never returned. Not ever. And the entire family was left wondering what happened to him in the woods of Memphis.

***

When I lived with Grandmom in Los Angeles, I played in the backyard of the Castilian duplex with my friend Linda who was not only my age but also the daughter of the Black man and woman who owned the beige duplex on the westside — between La Brea and Fairfax.

When I played in the backyard with Linda, one of us would sit on the small, flatbed, trash can cart and clinch the metal handle with all our might while the other spun the cart around on the concrete so we could pretend it was a carnival ride. On other occasions, we wound our waists until exhaustion inside the hot pink and fluorescent lime green Hula Hoops, challenged each other in jump rope, and in the hot summer months, we splashed along the plastic Slip ‘n Slide that lay on the grass. I even remember pulling a mere string around as I pretended it was a leash and imagined I was walking a dog.

But what happened in Memphis with Grandmom during her childhood was she got too old. That was when the mom of the White girl told her daughter she was too old to be playing with Black kids.

Maybe that’s why Grandmom always kept the pictures of Jesus and Martin Luther King, Jr. on the wall in her L.A. bedroom.

So, perhaps it was her stories that first taught me about politics.

Audiobooks I-W

Imperialism the Highest Stage of Capitalism by Lenin

Liberation Theology by Michael Lee

Malcom X by Manning Marable

Malcom X: The Last Speeches by Malcom X

Mao Zedong and China in the Twentieth-Century World by Rebecca E. Karl

Marcus Garvey: A Biography by Stephen Johnson

Marx, Capital, and the Madness of Reason by David Harvey

The New Age of Empire by Kehinde Andrews

The New Jim Crow by Michelle Alexander

Philosophy and Opinion of Marcus Garvey by Marcus Garvey

The Radical King by Cornel West

The Red Flag by David Priestland

Reminiscences of the Cuban Revolutionary War by Che Guevara

The Second Red Scare and the Unmaking of the New Deal Left by Landon R. Y. Storrs

State and Revolution by Lenin

Terrorism and Communism by Leon Trotsky and Slavoj Zizek

Vladmir Lenin, Joseph Stalin & Leon Trotsky by Charles River Editors

Why Marx Was Right by Terry Eagleton

***

But if it was audiobooks, it’s because they allowed me to see beyond the confines of a two-party system that offers more of the same – colonialism, capitalism, imperialism.

I’ve voted within the two-party system every election since adulthood, but with the knowledge that my choice wasn’t radical change. It was an effort to maintain civil rights within empire. The blindness of US politics is our avoiding how the U.S. operates as both nation and empire and thus, failing to acknowledge how the imperatives of empire are inhumane and bad for everyone around the globe.

But if it was audiobooks, it’s because as I listened, I scribbled notes on Post-Its. Often, I typed my notes into Google Docs that became pages of documentation.

And the audiobooks allowed me to see the nuances between fascism, conservatism, the various types of liberal laissez faire capitalism, and the many variations in leftist and radical politics. (US liberals would not be considered leftists in more politically literate nations in the world.)

***

But if it was audiobooks, it’s because over the years, they’ve helped me reflect on how I’ve vacillated between social democrat, democratic socialism, socialism, and anarchism. And always with an awareness of how the writings of Marx are crucial for an analysis of capitalism.

***

What if US liberals and radicals were as adamant about distinguishing nuance in politics as they are about gender? Especially on social media, it’s rare a person comes out of the political closet and says: “I’m a communist.” “I’m a democratic socialist.” “I’m an anarchist.” Instead, they leave it up to the listener to figure out their philosophical and political leanings. And if the listener is politically illiterate, the confusion begins. We’ve managed to un-closet gender, but we don’t apply these same standards to politics. (And we can’t expect this from those on the right who are in denial about their own fascism.). In a politically mature society, people would un-closet their politics.

***

After one hundred years of Red Scare anti-communism in the U.S., the closeting of leftist politics and the spread of political illiteracy from the highest levels of academia to the most remote corners of trade union politics have become the norm.

***

So, if it was audiobooks, I’m glad they challenged me. Because at some point, in this nation that publishes more books than any other, we must ask ourselves: What is the function of writing, publishing, and reading, if those activities don’t ensure the maintenance of democracy, healthcare, and education?

 

(Note: The beginning of this essay was inspired by the manner in which writer/poets Viteszlav Nezval –Czechoslovakia, 1900-1958 — and Teresa Wilms Montt — Chile, 1893-1921 — use repetition. I have been reading their poetry in recent weeks. In making that poetic rhetorical move, I was able to access the list of memories and then choose the one focusing on my grandmother.

I considered submitting this piece to a magazine, but I think the ending plods along and weighs the writing down. I also don’t think a magazine would go for the lists. But I think the lists are like poetry.)

Because I Went to Paris for Books

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Paris, more than anything else, was a book haul. So much so, that I had to buy the small, hot pink rolling luggage at the baggage shop on Rue de Rennes for 20 euros – an excellent price considering a similar bag at the more touristy Gare Montparnasse was 10 euros more.

But the hot pink bag is the end of the story. The beginning starts on my direct flight from Los Angeles to Paris where I finally finished the novel Pedro Páramo by Mexican author Juan Rulfo. I promised myself I would finish Rulfo’s novel to rectify the failure of not doing so during my travels from Los Angeles to Guadalajara in December 2025. Back then, I was going to the FIL – Feria Internacional del Libro. I arrived in Guadalajara, checked in to my hotel, but fell ill, and had to end my trip and return to L.A.

So, in March 2026, my goal was the Salon du Livre Africain de Paris that I’d first learned about three years prior. And during those three years, I had promised myself I’d resuscitate my college French by listening to language lessons and stories on audiobook. Just as reading Pedro Páramo was my attempt to make things right vis a vis the novel I had to read, this trip to France was an attempt to make amends for my last visit to Paris. Despite being in London, four years ago, I hadn’t been in Paris for decades. At that time, I’d come as a recent college graduate with illusions of settling in the city for what the youthful mind deems forever. My naïve idea was to go into literary exile in the city of light. My role model at the time was the international icon Anaïs Nin who looms large over women writers. But if I had been driven by Euro-American dreams in my early twenties, this time I was coming to Paris intentionally focused on Black Paris which was the aspect of the city that completely caught me off guard and absorbed my attention many years ago.

No sooner than I’d read the last page of Pedro Páramo and gotten a decent night’s sleep at my Parisian hotel, I was off to the two bookstores I’d researched — Présence Africain and L’Harmattan Internationale both located on Rue des Écoles, near Sorbonne University. After studying the expanse and grandeur of the university, I took photos, recorded videos, and tried to excavate this specific structure from my memory. I’d enrolled in French classes at the Sorbonne way back when. But was this where I’d studied? Although I remember the inside of the classrooms, the exterior of the building didn’t really strike a chord.

Inside Présence Africain, I bought two books and the English-language magazine Black Renaissance Noire – a 2006 edition published at New York University. I chose this copy because the names of authors Victor Hernández Cruz and Ntozake Shange blared out to me from the glossy cover. When I opened it, I saw an editorial board that included Kamau Brathwaite, Maryse Conde, Angela Y. Davis, Robin D.G. Kelley, Paula Marshall, and Ngũgĩ wa Thiong’o.

Just across the street, I entered the two-story curator’s dream that is L’Harmattan Internationale Bookstore. Here the African book section is arranged by each individual country. I came upon a large selection of African American writing translated into French, a section of Latin American literature in the original Spanish, and huge sections on the Middle East and Asia.

With one day to go before the Salon du Livre, I spent time the next afternoon – a Friday, at about 6pm — walking along the lower banks of the Seine which was packed with young people sitting along the river conversing, eating, drinking, and listening to music. At street level, I bought two books and a newspaper. The newspaper was my gem purchase since it was Le Monde. During my L.A. youth, I religiously read the international version of the Manchester Guardian Weekly which back then also contained Le Monde in translation and The Washington Post.

On Saturday and Sunday, with crossbody handbag on my shoulder and backpack strapped on, I walked from my hotel on Rue de Rennes to the Boulanger Paris Montparnasse for my daily croissant. The buttery crispiness of the croissant sealed the deal on what a croissant should taste like. From there, I headed directly to Hotel de L’Industrie on Saint-Germain-des-Près for the Salon du Livre which was a rendezvous of literary craft and exploration. Over the two days, I listened to panels on the topics of African youth, women and the environment, Angolan writing, writing in Madagascar/Reúnion, and Afro-Caribbean writing. Honestly, sometimes the French went over my head; but I enjoyed the immersive language experience. As a teacher of English as a second language, I welcomed the challenge; and I was happy to see the level of my aural comprehension increase daily.

The actual bookfair for the salon was down Boulevard Saint-Germain at the Refectoire des Cordeliers. I went early on Sunday, a few minutes after opening, since my attempt to go on Saturday afternoon was a lesson on just how jampacked this event could be. Early Sunday, I experienced the joy and jouissance of African fabrics adorning the tables, colorful book covers, men and women in both African and Western garb, and excited children in strollers. I walked the circumference of the bookfair three times just to take it all in and engrave it into my memory. I bought three books, all of them special for their own reason. The standout text is the novel Un Prisonnier Sans Étoile because I was able to meet author Sully Quay, and she autographed my copy of the book.

A bookstore on Boulevard Montparnasse was not on my itinerary. I was hunting for food with my left shoulder aching from the crossbody and my shoulders weighed down by the backpack. As I questioned whether this was the same boulevard I’d walked to reach my youth hostel years ago, I stumbled upon the literary treasures within the sun-filled space of Librairie Tschann. There, I discovered a large array of great novels, poetry books, and bright yellow volumes on the social sciences. I bought four books, and my treasure purchase is Congre – a 300-page book of poetry by the Congre Poetry Collective. This book is my opportunity to enter the world of contemporary French poetry since my existing collection at home in L.A. is a bit dated.

My last day in Paris, I went to the American Library and spent four hours reading Un Feminisme Décolonial by French political scientist and historian Françoise Vergès. I appreciate how Vergès looks at decolonialism from the perspective of lived experience in France and Réunion. On the eleven-hour flight back to Los Angeles, I continued reading this volume as I squirmed every so often in my stiff seat trying to ease a tired back and a left foot determined to go numb during those intervals they longed for movement.

During the last few hours of the plane, I finally stopped reading.  I was sure sleep would come. But that never happened; and by the time my large, pastel purple suitcase and the tiny, hot pink luggage came bouncing around the luggage carousel at LAX, I’d been awake twenty-two hours. By then, I longed for the good night’s sleep befitting an exhausted literary connoisseur with insatiable international aspirations.

Publishing On My Mind

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The end of February finds me with publishing on my mind.

I feel fortunate and excited because my hybrid memoir manuscript WHEN I WAS A BILINGUAL WRITER BIRTHED BY BLACK L.A. found a home with Unsolicited Press. I decided to go the un-agented route due to the difficulties in publishing memoir for those of us who are not celebrities. I submitted to approximately thirty small publishers during a query and submission process that was challenging, but that also grew easier the more I practiced it. By the time I made the twentieth query, I had become a bit of an expert on the query letter.

I described my query process in an essay that was published this month on the Jane Friedman blog. The title of the essay is “How I Navigated My Way to a Memoir Deal from a Small Publisher.” Non-celebrity memoir is the most difficult genre in which to get published, but I was able to secure a deal because I had learned so much from other writers in the writing community. Make sure you read my essay for the details.

Also, regarding publishing, once I secured my contract to publish my memoir, I realized there was a bit of a vacuum in my writing history. The title of my memoir refers to my bilingual poetry, but in reality, I’d only published three of my bilingual and multilingual poems back in 1991 in Americas Review published by Arte Publico Press. The rest of my poems I’d guarded in file folders for years.

So, I’m currently in the process of self-publishing those poems now. It’s actually a fun and exciting process because I get to edit my poetic voice from over thirty years ago. And the process of finding a book cover artist and helping to design the cover has been awesome!


With this message, I hope to communicate the importance of never giving up. Don’t give up if you have to submit to over thirty publishers. And don’t give up if it seems daunting to publish writing from over thirty years ago. Positive persistence makes us human! And it’s contagious.

Book Readings in the Los Angeles Area

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Looking back on my past two months attending book readings in Los Angeles, I’m inspired and energized by the manner in which these gatherings create community!

Connecting on social media is great, but real life is so much better. In-real-life events allow us to detect nuances we just can’t perceive when we interact digitally. And the connections we make are more authentic and lasting.

I found and/or rediscovered literary spaces where I feel at home. And I even became a member of Women Who Submit!

So which events did I attend?

At Skylight Books in the Hollywood area, I heard Michelle Gurule talk about her new memoir on sugaring titled Thank You, John. Brandon Taylor engaged in conversation about his novel Minor Black Figures which portrays a NYC painter pondering life and art.  And Myriam Gurba read from her hybrid memoir about plants and memory titled Poppy State and then passed out seeds to members of the audience.

On the westside at Beyond Baroque, poet and author Kevin Young read from two books — A Century of Poetry in the New Yorker: 1925-2025, edited by himself, and Night Watch, his newest book.

In East LA at Espacio 1839, editor Romeo Guzman accompanied Jenise Miller, Elaine Lewinnek, and Peter Chesney as they read from their essays in the anthology Writing the Golden State while George Sanchez-Tello performed and read as well.

Toni Ann Johnson read from her short story collection But Where’s Home? at a Women Who Submit event in Highland Park.

And never to be outdone, Reparations Club in South LA hosted Michaela Angela Davis as she engaged in conversation with Authur Jafa about her memoir tenderheaded.

I closed off this sprint of events in Santa Monica by attending the PEN America Emerging Voices LA Workshop reading. It was thrilling to hear participants read from their fiction, nonfiction, and poetry and to reflect on my experience as a PEN honoree and participant last year. 

I can’t wait to see what the new year brings in readings and lit events!

New York, Ten Years Later

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Attending the inaugural New York Black and African Literature Festival in September was the perfect excuse to revisit Harlem after ten years. And the three-day festival organized by author and poet Efe Paul Azino continually served literary vibes during my stay.

Because I chose a hotel in Midtown, I was able to experience large swaths of the city each day as I made my way uptown.

With the theme “Radical Solidarities,” it’s not surprising that one of the first panels I attended on Friday focused on coalition building. Dr Saudi García, a medical anthropologist, Samson Itodo, a Nigerian author and community organizer, and Omar Freilla, a social justice organizer discussed a wealth of themes relevant to the social challenges we face today. They described organizing as a way of life and a spiritual calling as they exchanged ideas about environmental resistance, the need for cooperatives and the necessity for unconventional alliances.

On Saturday, I attended the Radical Press panel which was a definite highlight. Speakers included Sean Jacobs from Africa is a Country, Bhakti Shringarpure from War Scapes Magazine, and the inimitable Ainehi Edoro of Brittle Paper. I was elated to hear all three speakers and to meet Dr. Edoro in person, especially since I’ve written a few book reviews for her admirable magazine. This trio of editors and publishers discussed how they founded their magazines around 2009/2010. They spoke on the current decline of corporate media and the need to take over spaces being abandoned by the mainstream. While Bhakti questioned even the role of independent media in the current paradigm, Jacobs emphasized how he stopped reacting to bad press in the West and made the decision to appoint more editors to cover the African continent.

On Sunday, I listened as journalist Howard French spoke about his latest book The Second Emancipation: Nkrumah, Pan-Africanism, and Global Blackness at High Tide with Kola Tuboson. Finally having the opportunity to hear this prolific author speak in person and discuss not just the role of Nkrumah in the development of Pan Africanism but also the diaspora wars amongst Blacks on the continent and in the Americas was definitely a highlight for me.

My insights here give just a small sample of the panels and readings I attended. There were several others that, in the spirit of the festival, brought together Africans from the continent, African Americans, and people of African descent from England and the Caribbean as well.

Ten years ago, when I visited New York, I crossed the Brooklyn Bridge on foot under the hot August sun. During this visit and once the festival ended, I did the same with the goal of visiting the Center for Fiction. The air was cooler this time, but the trek was just as challenging. During the same days that the Black and African Literature Festival was taking place, the Center for Fiction was hosting the Brooklyn Caribbean Literary Festival. As always, New York City was serving more events than I could possibly take in. So, I missed that one. But I still visited the Center to buy an anthology of short stories on Gaza and a bookmark depicting the Chrysler Building so I could carry a piece of the city back with me as yet another fond memory.

Art During Crisis

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In turbulent times, art won’t save us; but it can serve as a guide.

That is the message of the two art books that are bookends for my summer.

A Black History of Art by Alayo Akinkugbe is a recent publication in which the author “delves into the portrayal of Black figures in Western art, explores Blackness within museum spaces, and examines curatorial practices.”

In June, I was able to experience the power of Alayo Akinkugbe’s book by attending a 5-week, online course hosted by Black Blossoms, UK and given by the author who earned her degrees at both Cambridge and Courtauld Institute of Art.

The audience was as diverse as the art, with participants hailing from the African Continent, Europe, and the Americas.

Imagining Black Diasporas: 21st Century Art and Poetics by Dhyandra Lawson et al was published at the end of last year. This book captures the essence of the exhibit I saw in August at Los Angeles County Museum of Art. Likewise, it “illuminates aesthetic connections among established and emerging US–based artists in dialogue with artists working in Africa, the Caribbean, South America and Europe.”

Why my interest in these books?

Art continues to strengthen my interpretation of the Black diaspora and Pan Africanism. The Black diaspora crosses over international borders and various continents, and it communicates in various languages. Visual art is one of the most accessible avenues for interacting across differences because we might not be able to read the foreign language of the novel or understand the foreign language and accent in a song. Art is visual and immediate. It invites us to interact instantaneously with themes and motifs that crisscross the Black and Pan African experience.

I’m grateful for the connections art spurs me to make, whether in art galleries, via social media, or in excellent books such as these.

The LA Opera and Memories of Fascism: Federico Garcia Lorca, Neruda, Hemingway

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Would you flee a fascist state?

Given the current state of US political affairs, I was left to ponder that question as I watched the LA Opera production of “Ainadamar” at the Dorothy Chandler Pavillon downtown. In the opera, the character who plays actress Margarita Xirgu tries to convince her friend Federico García Lorca – a poet, playwright, and theater director — to flee Spain as the country hurdles towards civil war. She goes into exile, but the poet refuses to leave. Xirgu then engages with the audience to tell the tragedy surrounding García Lorca’s last days during the Spanish Civil War of 1936-1939.

Why Federico García Lorca?

Upon hearing about this opera, I was compelled to see it. As I state in my hybrid memoir manuscript, I first learned about Federico García Lorca at age sixteen when my AP Spanish Literature teacher introduced me to two poets who had a lasting impact on my own bilingual poetry – García Lorca and Pablo Neruda.

García Lorca is the most prominent Spanish writer of the early twentieth century. Born in 1898 in Granada, Spain and assassinated in 1936, his literary influences were futurism, symbolism, and surrealism. While doing recent research on his life, I realized authorities have given various reasons for his death. Most prominent amongst them is the fact that he was gay and a socialist in a country that was moving further and further to the right.

Was the Spanish Civil War a proxy war?

I am a fan of hybrid memoir, so literature inevitably leads me to history. Because I read the book The Red Flag by David Priestland a few years ago, I reflected on the historical context of the opera as I watched the L.A. production. From Priestland, I learned how the far right in Spain gained more popularity as Hitler consolidated power in and around Germany. Before World War II, Spain, France, and Chile had formed popular front governments to combat fascism. The Spanish left had one of the most successful popular fronts – communists, socialists, and left liberals — in the Western world, and they won the 1936 election.

Regrettably, the leftist victory of the Spanish Popular Front was short lived because General Francisco Franco staged a coup in 1936, the year García Lorca was assassinated. The country endured three torturous years of civil war fought not only by its citizens but also by volunteers from over fifty countries. The fascist governments of Germany and Italy supported Franco while Stalin sent arms to the political left.

While doing recent research, I learned new details about the quickly shifting politics of 1930’s Spain. I knew from Priestland that Picasso became a card-carrying communist during the civil war era. But I also discovered that Chilean poet and Nobel Laureate Pablo Neruda was on diplomatic duty in Spain where he met García Lorca. Like Picasso, Neruda became radicalized as a communist, but he also lost his diplomatic post due to his beliefs. The Chilean poet also met Peruvian poet Cesar Vallejo and attended the 1937 Second International Writers Conference that Hemingway attended.

Despite the valiant efforts of the leftist resistance and the toil of a civil war that cut short 500,000 lives, the General gained control of the country. Franco banned García Lorca’s writing until 1953 — interestingly, the year Joseph Stalin died — and maintained his dictatorship until 1975.

A surprise for me was learning that after many years of tragic war and decades of dictatorship, García Lorca’s remains have never been found.

The LA Opera’s production of “Ainadamar” — conducted by Lina González-Granados of Colombia and choreographed by Antonio Najarro of Spain – was excellent. I appreciate how it put this history and García Lorca’s art on a Los Angeles stage for us to remember and reflect on the importance of resisting the destruction and dehumanization of far-right politics.

AWP vs LA Festival of Books

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Los Angeles hosted two large book events within two months, and I attended both. Was one better than the other? I think not. They both focused on their audience and did so quite well.

March was abuzz with AWP and the writers who visited from across the country and internationally to make the city grand!

Association of Writers and Writing Programs hosted 12,000 writers, editors, publishers, book sellers, college programs, and others at the LA Convention Center. Amazingly, I didn’t just attend. I also presented for the first time! I was on the “New Literary Forms for a New Los Angeles” panel moderated by Claire Phillips. Along with Claire, I was proud to accompany writers Steph Cha, Sesshu Foster, and Gina Frangello.

Challenge number one was to calm my nerves! This was my first time presenting at AWP. The closest I’d ever gotten to presenting at AWP was participating in an off-site event alongside my publisher, Another Chicago Magazine, at AWP Seattle in 2023. But practice paves the way for perfection. And practice I did, even though my goal wasn’t to be perfect. I just wanted to be prepared enough so that if I made a mistake, I’d be able to regain composure and keep it moving.

As an attendee, I made my way to the panel “Do the Hustle: How to Publicize Your Book.” Luckily, I am reaching that yearned-for point in the writing process in which I get to focus now on submission, marketing, and publicity. So, it was great hearing how authors are clearing their own pathways to sales in an era in which publishers do less book promotion.

The panel “Literary Production During Authoritarian Governments” hit the right notes of concern and caution given our current administration in D.C. I share in the presenters’ belief that it’s imperative we continue writing and resisting during this era of book bans and limited funding.

“We Beautifully Outside: Informal Writing Collectives, Community and Kinship” was a wonderful reminder of the power of writing groups and how they have nurtured Black women writers in Los Angeles, Sacramento, and Seattle.

In April, LA Festival of Books had about 160,000 people in attendance and was more about casual engagement. Let’s face it, at AWP writers are speaking to their peers — the toughest audience sometimes.

Because AWP and LA Festival of Books were back-to-back in the same city, I picked up on the different tone right away. At the book festival, authors speak to their readers. So, the presenters delve into the content of the text more so than the writing process that led to its creation. Their presentation is more relaxed because they want to meet their audience halfway, and their audience is simply out and about enjoying their weekend.

For me, panel number one was “Existential Memoirs.” As a writer of hybrid memoir, I search out this genre. The panel was moderated by Gina Frangello, my co-panelist at AWP, and included authors Meghan Daum, Lyz Lenz, and Glynnis MacNicol. The women covered a wide range of topics including relationships, motherhood, the humor of daily life, and the horror of contemporary politics.

And finally, the “Speak Out” panel on writing and activism was moderated by journalist Jonathan Capehart and included authors Ibram X. Kendi, Aida Mariam Davis, and Rita Omokha. I loved that this panel had a Pan African scope, with presenters of US, Ethiopian, and Nigerian heritage. Their call to activism was rooted in US reality but stretched across the African/Black diaspora and highlighted the need to act locally and analyze globally as we draw on Black activism from the past to traverse the winding roads of an uncertain future.

My Interview at Write or Die Mag

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Last month I was featured in the Write or Die Magazine Newsletter. Write or Die Mag is on Substack, and they have a huge following of more than 11,000 subscribers. They publish short stories, essays, and interviews.

Check out the interview here.

Write or Die Editor and prolific writer Brittany Ackerman kindly invited me to participate in the GRWM (Get Ready With Me) feature. In the interview, I discussed my favorites — a favorite bookstore, recent book, winter purchase, and brunch order. I also recalled my best and worst writing advice.

Why Samuel Beckett: A Black Writer’s Perspective

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Studying Waiting for Godot by Samuel Beckett during junior year at UCLA was the final straw that pushed me towards mental and emotional exhaustion. I had overextended myself academically by taking too many classes during spring and summer quarters; and, studying Beckett in the fall led to questioning my Catholic faith and having to take a quarter off from my studies.

When I heard that OR books was publishing a hybrid memoir titled Beckett’s Children by Michael Coffey, I rushed to pre-order it. Coffey’s memoir, published in July this year, offered a sense of relief because I had worried that the allusions to a modernist writer in my memoir manuscript might seem a bit dated. But here was a memoir published in 2024 proving me wrong.

Unlike Coffey’s book, there are no continuous references to Beckett in my manuscript. Studying Beckett’s Waiting for Godot is pivotal to the inciting incident in chapter one because it causes me to doubt my faith. In Beckett’s Children, on the other hand, the author’s inciting incident centers around the idea that the Irish author may have fathered the American poet, Susan Howe.

Threads running through Coffey’s hybrid memoir include the stated curiosity about a familial bond between Beckett and Howe, Coffey’s literary research on the two writers, his own history as an adoptee, and his relationship with his son who is a three-time felon and addict.  In my manuscript, I weave in the history of Black Los Angeles beginning with the founding of the city by the Spanish.

Coffey’s description of airports and prisons as structures distinguished by their “architecture of waiting” stood out to me. This description was impactful because I’m familiar with Professor David Harvey’s description of the revolutionary potential of airport workers who are a class in themselves with the potential of becoming a class for themselves. In contrast, prisoners are the most captive humans on US soil; and prison is where the US Government has sent revolutionaries, such as members of the Black Power Movement and the Black Panther Party. So, I found the analogy of prisons and airports interesting because the two structures can also be considered exact opposites.

I recommend Beckett’s Children because one or more of the four narrative lines the author weaves into his hybrid memoir will grab your interest and pull you through the author’s skillful storytelling until the last page.