CHWP Blog
dematerialization—mónica teresa ortiz
Often people ask me how I am doing. Perhaps as a courtesy, perhaps sincerely, perhaps to know a different reality than their own. Sometimes it’s...
COVID Haiku—Lorraine Garnett
I remember the first time I was called a poet. It was four years ago at the Worker Writers School monthly workshop. Davidson Garrett, a...
MASCULIN FÉMININ—BLACK by Joanna Walsh
As she watches the films of Jean-Luc Godard while in lockdown, Joanna Walsh considers the boundaries of Paris, beauty, and desire—in life and film. She...
In the temple on the stone is where you lie—Cole Lu
In this exercise in allegory, Cole Lu weaves together narratives of historical truths, half-truths, and propaganda, presenting a snippet in the artist's ongoing research-based exploration...
Temporary Resident—K-Ming Chang
In this flash-fiction piece from K-Ming Chang, a Chinese woman, who has been quarantined for two weeks in her daughter’s garage after being fired from...
An Essential Realization—Tameka Blackshir
This essay from Tameka Blackshir serves, in part, as an important reminder of why Coffee House launched the CHWP back in April. As we head...
Fear of New Music—Harmony Holiday
Ask me what music I’ve been listening to during this pandemic and my mind goes blank. I know that selective listening has gotten me through...
LOST IN EAST NASSAU AND HAY FIELDERS OF THE NEW NORMAL—BERNADETTE MAYER AND PHILIP GOOD
Poets Bernadette Mayer and Philip Good make an occasional practice of collaborating on a generative exercise to mark the changing of the seasons. You’ll see...
WINDOWS—SHUCHI SARASWAT
Shuchi Saraswat calls our attention to windows. What they do, what they can mean to people. In the early days of the pandemic, watching the...