Before Memmo my notes were scattered across PDFs. Now a workspace pulls everything into one place — I see exactly what's still left to study.
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.”
Before Memmo my notes were scattered across PDFs. Now a workspace pulls everything into one place — I see exactly what's still left to study.
Memmo's summaries are gold before exams. I don't have to re-read 800 pages two weeks before — just the important parts.
The AI chat has saved me the night before an exam more than once. I just keep asking until I get it — no waiting on a study group to reply.
The quizzes hit exactly what I need to know. Memmo tracks what I get stuck on — so I only practice what's worth it.
Flashcards with spaced repetition are magic. Memmo knows when I'm about to forget something and brings it back.
The AI podcasts are my favorite. I listen on my way to school and get a recap without sitting at a computer.
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