Natalie Diaz writes from the intersection of Mojave and Latina identity, crafting poems that transform colonial violence into acts of reclamation and desire. This collection won the Pulitzer Prize for its unflinching examination of what it means to love and grieve in a body that settler culture has sought to erase. Diaz, who grew up in the Fort Mojave Indian Village and played professional basketball before turning to poetry, brings physicality to her language that makes violence and tenderness equally present on the page. Her poems move between English, Spanish, and Mojave, refusing the monolingualism that colonization imposed. The collection opens with 'I watch her eat the apple,' establishing a lover's gaze that will recur throughout, but this intimacy exists alongside poems about her brother's addiction and the poisoned Colorado River that runs through Mojave territory. Diaz draws on flood myths from multiple traditions, creating new origin stories for a people whose land was drowned by dams built without their consent. The title itself performs the collection's central paradox: how can love exist in the aftermath of colonization, and how can poetry be anything other than postcolonial? Diaz answers not with resolution but with the body's insistence on pleasure and connection despite everything. These poems demand we recognize desire as a form of resistance.