Saaro Umar



‘It turns into a new language’: Saaro Umar in conversation with Elyas Alavi

And once you’ve gone, you can’t come back anymore. The almost-end of an exchange that comes close to passages between James Baldwin’s David and Giovanni; here between the voice of Magaye Niang and Marène Niang, as she glides naked across thick Alaskan snow, breasts upwards, the foreground close to the colour of the sky, she replies, I think I’ve already heard this song.

Posted in INTERVIEWS | Tagged , , ,

Editorial to AFRO AUSTRALIAN

I can’t think I am living large if the home we live in is a mess while my own room is spotless. I want a beautiful mansion for all of us. Yes, I realise this is not a seamless nor an especially artful allegory.

Posted in ESSAYS | Tagged

Innocent Eyes!: Ekphrasis and the Defiant Multiplicity of the Female Gaze

The male gaze has been discussed at length. The female gaze, not as much. This ekphrastic project is about the latter.

Posted in CHAPBOOKS | Tagged , , , ,

ode; to blue

because the senses crave melody it drips; a whistle caught in cotton vill i sit. nothing— this body is beyond capture. but is a simple sound. whistle; [elelelelelele] ululation. it drips; heat exit graft; each twitch splits— the hairs on …

Posted in FEMALE GAZE | Tagged

Tell Me Like You Mean It: New Poems from Young and Emerging Writers

‘Emerging’ is a strange word, and ‘strange’ is probably a cop out. It is often arbitrary, sometimes condescending, frequently empowering and often carries with it an incredible sense of community.

Posted in CHAPBOOKS | Tagged , , , , , , , , , , , , , , , , , , , , , ,

(untitled)

I had promised myself that I will never write about shisha, ever again. The topic itself is as disgusting as is                                                                                                            knuckles press down onto counter hips between stovetop & a stack of ceramic my soles lift as his hand …

Posted in AP EWF 2017 | Tagged