In Luisa Igloria’s “Archipelago,” the speaker weaves through diaspora physically, existentially, and epistemologically, finding herself “back on Mabini, where as a child / I stared at man-roots,” alluding to a departure that allows for a return, to origins that appear gendered.1 But those “man-roots” are themselves contrived, living not in nature but in “fluid-filled mason jars / next to powders ground from deer horn and dried seahorses.”...
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