This selection, chosen by guest editor Sarah Clark, is from Heirloom by Ashia Ajani, released by Write Bloody Publishing in 2023.
collards
The pot stays on. On the stove, the simmer sojourns south. Hunger don’t have no place in this kitchen. In this kitchen, every Black belly has its feed. This ornamental garden tastes best after the first frost. After what could not survive falls to decay in service of more sumptuous fruit. O, my clever, sour Gods smoked from brine and whimsy, sweetwater recalls me a Mississippi mad woman. Sick to the soul with all this fruit. Yearning for what it means to feed & be fed.
Ashia Ajani is a sunshower hailing from Denver, CO, (unceded Cheyenne, Ute, and Arapahoe land), now living in Oakland (unceded Ohlone land). A lecturer in the AfAm Department at UC Berkeley and a climate justice educator with Mycelium Youth Network, Ajani has received fellowships from Just Buffalo Literary Center, Tin House, The Watering Hole and others. Their words have appeared in Sierra, Atmos, World Literature Today, Frontier Poetry, & elsewhere. Ajani is co-poetry editor of the Hopper Literary Magazine and a Fall 2023 Poet in Residence at SF MoAD. Their debut poetry collection, Heirloom (Write Bloody Publishing), dropped April 2023.
Sarah Clark is a mad crip genderfuck two-spirit enrolled Nanticoke editor, writer, and cultural consultant. They are Editor-in-Chief and Poetry Editor at ANMLY, Editor-in-Chief at ALOCASIA: a journal of queer plant-based writing, Co-Editor of The Queer Movement Anthology (Seagull Books, 2024) and the Bettering American Poetry series, and a current Board member and Assistant Editor at Sundress Publications. They have edited folios for publications including the GLITTERBRAIN folio and a folio on Indigenous & Decolonial Futures & Futurisms at ANMLY. Sarah freelances, and has worked with a number of literary and arts publications and organizations, including the Best of the Net anthology, contemptorary, Curious Specimens, #PoetsResist at Glass Poetry, Apogee Journal, Blackbird, the Paris Review, and elsewhere.
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