I. Growing up young, Filipina, and undocumented in Southern California, I naturally had a monstrous appetite for the various news feeds transcribing and sensationalizing the...
26.052015September 10, 2019
Language of the Border
By Jessica ReidyIn FeaturedTags aliens, and Javier Zamora’s Nueve Años Inmigrantes, April Naoko Heck’s A Nuclear Family, Arnold Schwarzenegger, Asian, Becerra, binaries, border, Cathy Linh Che’s Split, Darby Conley, Donald Pease, DREAM Act, Edward W. Soja, ethnicity, Eugenia Leigh’s Blood, Filipina, Gov. Gray Davis, Hieu Minh Nguyen’s This Way to the Sugar, ID, identity, illegal, immigrant, immigration, invisibility, Jamaal May’s Hum, Jericho Brown’s The New Testament, language, Latino, license, Los Angeles, Melanie McAlister, Mexico, Monica Ong’s Silent Anatomies, Natalie Diaz’ When My Brother Was an Aztec, Nedra Reynolds, O'Connell, Philip Metres’ Sand Opera, poetry, R. A. Villanueva’s Reliquaria, racism, Rigoberto Gonzalez’ Unpeopled Eden, Ross Gay’s Catalog of Unabashed Gratitude, Sally Wen Mao’s Mad Honey Symposium, Southern California, Sparrows and Sparrows, student, Tamiko Beyer’s We Come Elemental, Tarfia Faizullah’s Seam, Terrance Hayes’ How to Be Drawn, undocumented, university, W. Todd Kaneko’s The Dead Wrestler Elegies, writers of color
