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... an adult poet is simply an individual in a state of arrested development-in brief, a sort of moron. Just as all of us, in utero, pass through a stage in which we are tadpoles, ... so all of us pass through a state, in our nonage, when we are poets. A youth of seventeen who is not a poet is simply a donkey: his development has been arrested even anterior to that of the tadpole. But a man of fifty who still writes poetry is either an unfortunate who has never developed, intellectually, beyond his teens, or a conscious buffoon who pretends to be something he isn't-something far younger and juicier than he actually is. -H. 1. Mencken, High and Ghostly Matters, Prejudices: Fourth Series (1924) Where would evolution be, Without this thing, heterochrony? -M. L. McKinney (1987) One of the joys of working in a renascent field is that it is actually possible to keep up with the literature. So it is with mixed emotions that we heterochronists (even larval forms like myself) view the recent "veritable explosion of interest in heterochrony" (in Gould's words in this volume). On the positive side, it is ob viously necessary and desirable to extend and expand the inquiry; but one regrets that already we are beginning to talk past, lose track of, and even ignore each other as we carve out individual interests.
Young Alex Winchester woke up in a grey metal hospital bed surrounded by the peering eyes of strange malformed creatures. A giant oblong pink and blue pill with human legs was fiddling with an IV bag above his head, and to his left a trio of mismatched prosthetic legs were attached to three truncated appendages of a smiling turquoise octopus. However well your best dentist visit went, it didn't go as well as the visit New York Times bestselling illustrator Camille Rose Garcia had several years ago. The result is this illustrated fever-dream of a book that is equal parts William Burroughs and Walt Disney. In fact, WIRED magazine declared of her reimagining of the Brothers Grimm story that "Walt Disney would likely turn over in his cryogenic vault if he saw [her] gorgeously skewed portraits of Snow White and her angry dwarves."
A sensuous, textured novel of life in a refugee camp, long-listed for the Orwell Prize for Political Fiction On a hill overlooking a refugee camp in Sudan, a young man strings up bedsheets that, in an act of imaginative resilience, will serve as a screen in his silent cinema. From the cinema he can see all the comings and goings in the camp, especially those of two new arrivals: a girl named Saba, and her mute brother, Hagos. For these siblings, adapting to life in the camp is not easy. Saba mourns the future she lost when she was forced to abandon school, while Hagos, scorned for his inability to speak, must live vicariously through his sister. Both resist societal expectations by seeking to redefine love, sex, and gender roles in their lives, and when a businessman opens a shop and befriends Hagos, they cast off those pressures and make an unconventional choice. With this cast of complex, beautifully drawn characters, Sulaiman Addonia details the textures and rhythms of everyday life in a refugee camp, and questions what it means to be an individual when one has lost all that makes a home or a future. Intimate and subversive, Silence Is My Mother Tongue dissects the ways society wages war on women and explores the stories we must tell to survive in a broken, inhospitable environment.