MAYA PINDYCK
Photograph by Beowulf Sheehan
MAYA PINDYCK is the author of the poetry collections Emoticoncert (Four Way Books, 2016) and Friend Among Stones, winner of the Many Voices Project Award (New Rivers Press, 2009), and co-author of A Poetry Pedagogy for Teachers (Bloomsbury, 2022). She is the recipient of a National Endowment for the Arts Fellowship, a Poetry Society of America Chapbook Fellowship, and grants from the Historic House Trust of New York City and Abortion Conversation Projects. Her visual, collaborative, and community-based work has been exhibited at the Milton Art Bank (Milton, PA) and in New York City at the Art in Odd Places Public Festival, the Governors Island Art Fair, the Lewis H. Latimer House Museum, The Clemente, and elsewhere. Currently, Pindyck lives in Philadelphia where she is an assistant professor and director of Writing at Moore College of Art & Design. She grew up in Boston and Tel Aviv.
FINALIST – NATIONAL JEWISH BOOK AWARDS
Maya Pindyck’s Impossible Belonging is a collection of elemental folklore conceived from the inside and outside of bodies and the yearnings that shape them. Diaspora is complicated by the Anthropocene in this prescient collection. Pindyck unpacks the stories we shake off to seek out our own paths as mothers, Americans, as artists, and sisters with urgency and hope. At the same time, Impossible Belonging honors those legacies through the tender utterances of these crystalline poems.
— Carmen Giménez Smith
Judge, Philip Levine Prize for Poetry
“You have to touch the fire of letters,” writes Maya Pindyck in a startling collection of poems where we are forced to not look away from the war of language and its gouged field of bodies, blood, blossoms, and ideas. Here is the memory of a self and her home, bleakly dissonant as a war-stained country … Impossible Belonging is defiant, immediate. Beyond geographies of war, love, and words, Pindyck commands the past, present, and future: “Remember our country/banning the book noting/our refusal to see./Remember this compass/mapping our last past.” — Rachel Eliza Griffiths