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The Choreic Period
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The Choreic Period : Poems

Book Details

Format Paperback / Softback
ISBN-10 1639551182
ISBN-13 9781639551187
Publisher Milkweed Editions
Imprint Milkweed Editions
Country of Manufacture GB
Country of Publication GB
Publication Date Mar 6th, 2025
Print length 96 Pages
Weight 124 grams
Dimensions 21.50 x 13.90 x 0.70 cms
Ksh 2,350.00
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A ground-breaking collection of poems exploring disability, syntax, and rhythm from a Brooklyn-based Senegalese American writer with cerebral palsy. Latif Askia Ba—an acclaimed poet with Choreic Cerebral Palsy—honors all the things that arise from our unique choreographies. Meeting each reader with corporeal generosity, these poems create space to practice a radical reclamation of movement and the body. Together. In dialogue. In disability. At the bodega, in the examination room, on the move. “This way. My body looks like a dancing tattoo.” Here, the drum of the body punctuates thought in unexpected and invigorating time signatures. These poems are percussive and syncopated, utilizing a polylingual braid of French, Spanish, Jamaican, Fulani, and Wolof, reminding the Anglophone reader: “I am not here to accommodate you.” Because these poems are not so much for you as they are with you, an accompaniment rather than an accommodation, something to be rather than something to own. With startling nuance, The Choreic Period encourages us to “relinquish the things that we have. And mark the thing that we do,” all to see and sing the vital “thing that we be.”

A ground-breaking collection of poems exploring disability, syntax, and rhythm from a Brooklyn-based Senegalese American writer with cerebral palsy. 

Latif Askia Ba—an acclaimed poet with Choreic Cerebral Palsy—honors all the things that arise from our unique choreographies. Meeting each reader with corporeal generosity, these poems create space to practice a radical reclamation of movement and the body. Together. In dialogue. In disability. At the bodega, in the examination room, on the move. “This way. My body looks like a dancing tattoo.” Here, the drum of the body punctuates thought in unexpected and invigorating time signatures.

These poems are percussive and syncopated, utilizing a polylingual braid of French, Spanish, Jamaican, Fulani, and Wolof, reminding the Anglophone reader: “I am not here to accommodate you.” Because these poems are not so much for you as they are with you, an accompaniment rather than an accommodation, something to be rather than something to own.

With startling nuance, The Choreic Period encourages us to “relinquish the things that we have. And mark the thing that we do,” all to see and sing the vital “thing that we be.”


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