Sam Atkis

“Anna looks down at herself. She’s child-bodied no more. This is the Anna who came after the choice. Who lived with it for year after horrible burdened year.
She doesn’t want to live with it anymore.
But Mom waited so long to see her again.”
― Seth Dickinson, Exordia

“Nepantla, Rosamaria says, as she turns, without self-consciousness, to face him. That’s the word for being in a place between two places. She touches her wide, flat nose. I am a crossroads inhabited by whirlwinds. That’s what Anzaldûa wrote, about being inside and outside at the same time. A place you come to, but which is always moving. A nepantlera is someone who moves between selves. Am I the good Mexican girl who goes to Mass and prays to la virgencita? Am I the good assimilated girl who doesn’t have an accent? Am I the sad messed-up girl whose mom left so now she has sex under a porch? Am I a poor girl who cares about poor Mexicans? Am I a feminist who cares about women? Who gets my solidarity? I want the answer to be “everyone.” But people don’t like it when you’re too many things at once.”
― Seth Dickinson, Exordia

“Even poetry, which breaks language into meaning - poetry ossifies, in time, the way trees do. What’s supple, whipping, soft and fresh grows hard, grows armor. If I could touch you, put my finger into your temple and sink you into me the way Garden does - perhaps then. But I would never.”
― Amal El-Mohtar, This Is How You Lose the Time War

“I want to meet you in every place I ever loved. Listen to me. I am your echo. I would rather break the world than lose you.”
― Amal El-Mohtar, This Is How You Lose the Time War