Join poets Brandel France de Bravo and Weijia Pan at Books Inc. Palo Alto for a reading and discussion of their new collections Locomotive Cathedral, and Motherlands! About Locomotive Cathedral: With wit and vulnerability, Brandel France de Bravo explores resilience in the face of climate change and a global pandemic, race, and the concept of a self, all while celebrating the power of breath as “baptism on repeat.” Whether her inspiration is twelfth-century Buddhist mind-training slogans or the one-footed crow who visits her daily, France de Bravo mines the tension between the human desire for permanence and control, and life’s fluid, ungraspable nature. Poem by poem, essay by essay, she builds a temple to the perpetual motion of transformation, the wondrous churn of change and exchange that defines companionship, marriage, and ceding our place on Earth: “not dying, but molting.” Praise for Locomotive Cathedral: “Kinetic and spectral, wise and suspicious of wisdom, Brandel France de Bravo’s Locomotive Cathedral chugs into an expansive, vaulted space, where ‘any raised surface can be an altar,’ via a hybrid text of poems, prose poems, and brief lyric essays. There is even a companion crow with one foot, René, who, like the speaker, is compelling and brilliant and makes no promises. Deft with figurative language—‘Like restaurant carp, we are learning to live in this aquarium,’—France de Bravo also questions the whole enterprise. ‘Metaphors can seem so transactional, language doing business, swapping currency,’ she writes, in a zuihitsu on giving and taking. Nothing here is undisputable, even the tools of the trade, and I love it. I love her parables breathing contemporary life into twelfth-century Tibetan Buddhist slogans on mind training—‘And then, there was the time I drove a dangerous highway, / thumb-drive buried in my bun . . . files and poems bobby-pinned / to my skull.’ I love the poems on flood and fire and plague, on dryer lint and home improvement, on the subject/object conundrum, on the woman, a mature, exhilarative presence, and on the one-legged crow, who has the first word, and the last.”—Diane Seuss, Pulitzer Prize–winning author of frank: sonnets and Modern Poetry “The muse of this collection is a one-legged crow, and crow it does, with an insinuating, insistent music and a wily, restless aesthetic that hops from brilliant image to sly aphorism to tender insight. These poems are luminously dark, keenly observant, and endlessly curious about the whole symphony of existence, where nothing is lost, everything is transformed, and we live our lives ‘not dying, but molting.’ Locomotive Cathedral is marked by its unflinching yet compassionate gaze; we are blessed to have it.”—Michael Bazzett, author of The Echo Chamber “Brandel France de Bravo’s Locomotive Cathedral is a panoramic meditation ushering us into stillness. With grace and humility, in a skillful range of forms, France de Bravo sings a praise song to surrender. When living means ‘cycling through the stink and stain,’ France de Bravo celebrates the sacred pause, reminding us that ‘any raised surface can be an altar, a place to kneel.’”—Rage Hezekiah, author of Yearn About Brandel France de Bravo is the author of the poetry collections Provenance and Mother, Loose and the editor of Mexican Poetry Today: 20/20 Voices. Her poems have appeared in Best American Poetry 2024, 32 Poems, Barrow Street, Conduit, Diode, Salamander, Southern Humanities Review, and elsewhere. About Motherlands: Chosen by Louise Gluck for the Max Ritvo Poetry Prize, this engrossing debut interrogates history, identity, and the power of poetry to elucidate both. Motherlands opens with a child drawn early to poetry.  In summer I write. Two lines at a time, two vying souls / running up the wall.  The collection follows this speaker-poet through a childhood in post-Maoist China and an eventual move to the United States, laying bare cultural and linguistic tensions in both historical and modern settings. He cites Chinese laborers toiling in American factories--an echo of the brutalities endured by those who constructed the Transatlantic Railroad--and speaks to anxieties around belonging, assimilation, and identity.  If I forget one character a day,  he writes.  I will have forgotten Chinese / by the end of 2042.  In these attentive, imaginative poems, Weijia Pan questions the artist's duty--his duty--as a chronicler of truth, especially through issues of displacement and global injustice. What can the poet do but observe? And yet, in unpacking ancestral traumas connected to Maoist China and modern-day bigotry exacerbated by the COVID-19 pandemic, he still finds himself turning to art as a way to understand both the self and the world at large. Through elegant juxtapositions, Pan crafts an emotional world that is at once regional and universal--Li Bai and Du Fu sit alongside Glenn Gould and Sviatoslav Richter, pepper used to bless new roads is repurposed in the mace used against protesters, two languages compete on a single tongue. Lyrical and visionary, this collection embodies poetry's capacity to ground us, teach us, and change us. About Weijia Pan is a Chinese poet and translator. In 2023, his debut poetry collection, Motherlands, was selected by Louise Glück for the Max Rivto Poetry Prize and subsequently published by Milkweed Editions in 2024.

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