![]() ![]() ![]() This collaboration also marks a début for The New Yorker of a new recurring poetry feature that will be published exclusively on the Web, where we will present innovative and exciting new work, from longer-form pieces to sequences and collaborations. They chart a deepening friendship, too, the kinship of words and of being women, of being poets and people of color in the early twenty-first century. These epistles chart a world in the throes of change. Throughout the exchange, much of which occurred while the writers separately travelled the country, a rich physical and emotional landscape emerges as the poets navigate their own experiences, they ask questions about heritage, place, nature, the body, language, and dislocation-challenging themselves, one another, and their readers to develop a more nuanced understanding of what home is, and of what it could be. The resulting poem-letters reveal, as most missives do, their writers’ lives, but also a time and a place-one in which the immigration officers of ICE are as present figures as the poets’ partners and lovers-that ultimately expose and explore the American character. From January through September of 2017, the poets Natalie Diaz and Ada Limón conducted an inspired and collaborative correspondence. ![]()
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