Review // by Lucia Senesi Ottessa Moshfegh’s latest novel, Lapvona, is an allegorical tale of power dynamics and…
For Chloé Cooper Jones, author of the memoir Easy Beauty, life is an endless experience of being studied by others. Peers debate the value of her life, strangers stop and stare, and doctors announced that she will never have a normal life.
"When I remember a place or an object or a person, I remember how they became an inextricable part of me."
"It's not just about the words, but it's also about how you put the words onto the paper."
"How does someone process and grieve being separated from their entire biological family — by distance, language, and culture? What does that feel like?"
We live in a world with so many distractions, but syntax, getting the words to work together to form a new thing, pulls me out of the chaos and keeps me coming back.
"I return to the page because it has always felt like the most natural thing to do, and because it is most often the only thing I know to do."
"Sometimes I will write a draft just to push through something and get it out, and then I'll let it sit for months on end and come back to it."
"When we are on the receiving end of news, there is a lack of transparency, and that actually gives birth to indifference. How do I feel about someone when I don't even know their name?"
I think storytelling is a trauma response. You live in a world that crushes you, so you try to build a world that snowglobes you out of there.
“There are poems that teach us how to read in such a manner as to eclipse our normal perceptions, our normal state of being. That's something that I think is really powerful about the hybrid form: you can portray things not just through words but through presentation.”
"When I'm inspired, there gets to be a hot feeling behind my eyes, and I need to get it out."
Sara Lynne Puotinen lives in south Minneapolis, near the Mississippi River Gorge, where she reads and writes and…
"I have a never-ending stream of narratives in my mind that I have to get out and refine into something worth reading."
As much as I do love a tidy ending, I love something with no resolution, and I try to do that in my own work as much as possible.
"My motivation to return to the page is the belief that poetry is magic."
"Eventually, it became clear that this is really a love story — as much as what it means to love and accept oneself as it is about romantic love with another person."
"My number one ambition, always, is to create a community in which competition is banished (there shall be no "best") and personal growth is celebrated. Within such a trusting, open, can-I-say-loving environment, extraordinary things unfold."
"Hives become hidden, and we feel the sensation of endlessly tumbling through language, through its aural folds, its dimensional chronologies, and its perpetual limitations."
"I’m always interested in how relationships grow and change over time, especially long-term friendships that start in childhood."
"Episodic yet easy on the eyes, Eating Lightbulbs could as easily be consumed slowly, steadily, and over a longer period of time as it could be read in one fell swoop . . . but perhaps that depends on one’s appetite for broken glass."
"I hope my work will inspire readers to think of how the mistreatment of nature leaks into our day-to-day lives. I want people to think of how patterns in our personal lives echo patterns that occur in the natural world."
"Environmental activism must, in my opinion, go hand-in-hand with social justice efforts; it must be integrated into the project of dismantling power structures and in service of creating more equitable societies."
S.S. Mandani runs a coffee shop and writes in New York City. He studied fiction at the University…
"I don't think any writer can bring sufficient energy to a project if they don’t know what they’re passionate about or what they most want to say."
"My authority is that I often know I’m not an authority, which means I’m usually asking something in poems."
"The more of these unusual pieces I wrote, the more I wanted to write, and the more I wanted to read from other parents."
"Sometimes it takes months to return to a piece because I need time to become the version of myself who knows how the piece ends. It might be a new life experience or friendship — or temporal distance from an experience or relationship ending — that helps contextualize the missing pieces, and I love the process of discovery that comes with writing."
"Protagonist Owen grows up hiding the most intimate, tender, and evolved relationship of his young life under his T-shirts: a talking java finch named Gail."
"A lot of times we writers create these beautiful pieces that highlight trauma, and then we share that work, and we live in those trauma-tinged words, and it feels immense."
Kay E. Bancroft (they/them) is a queer non-binary poet, educator, editor, and reviewer from Cincinnati, OH. They hold…
Caleb Nichols (he/they) is a writer from California, occupying Tilhini, the Place of the Full Moon, the unceded…
Rachel A.G. Gilman’s work has been published in journals throughout the U.S., U.K., and Australia. She is the…
Beth Meko grew up in north central West Virginia and currently lives in Knoxville, Tennessee. Her short fiction…
Carli Cutchin is a writer, critic, and hot springs aficionado based in Berkeley, California. Her works has appeared…
Renato is an American writer in Brooklyn, New York. His work has appeared in Fiction International, Ellipsis Zine, Not One of…
Aaron Landsman is an artist-in-residence at Abrons Arts Center on New York City’s Lower East Side. Upcoming and…
Jennifer Fliss (she/her) is a Seattle-based writer whose writing has appeared in F(r)iction, The Rumpus, No Tokens, and…
Lydia Kim has had an essay appear at Catapult, a postcard at HAD, a fable in Ursa Minor, and a rant…
Lindsey Pharr (she/her) is a Mississippi native living in a cabin in the woods outside of Marshall, North…
Katie McMorris is a writer and dancer. She lives and teaches in Oklahoma. Click here to read Katie’s…
Lindy Biller lives in Wisconsin with her husband and two kids. Her fiction has recently appeared at Chestnut Review, X-R-A-Y, Superfroot…
Massoud Hayoun is a journalist based in Los Angeles. He wrote a decolonial memoir of his grandparents and…
H.E. Fisher is a multi-genre writer whose work appears or is forthcoming in Indianapolis Review, Anti-Heroin Chic, Canary, Poetica…
Eric Scot Tryon is a writer from Northern California. His work has appeared in Glimmer Train, Willow Springs, Monkeybicycle, X-R-A-Y Literary Magazine, trampset, Berkeley…
In a time and place where movements were restricted, I took to pounding the streets of the city that birthed me.
A lot of time, the "magic" is a manifestation of a feeling.
At the end, there’s no answer, but ending in laughter and nostalgia leaves room for hope.
Ash’s stories begin as the Grenfell news story did: with a fire.
So here I am attempting to name a thing I love, knowing full well I may not.
In Magnolia Canopy Otherworld, the debut collection from Erin Carlyle, this biblical origin story is both confirmed and upended.
More than anything else, it is this natural ear for sounds that makes Kelsey’s fiction stand out; her characters and their movements are given form by it.
The kind of ending that Purkert is in love with, is that most important part of a successful poem: the audible click of a final line.
Yuri Herrera’s Signs Preceding the End of the World is a deceptively slim novel. Alternately referenced as narco-noir, myth, epic, and border story, the novel manages to fluidly traverse genres and structural layers in a mere 107-pages.
If you are Black and American, then you too might have a story similar to mine. A story whose blood origin begins with more questions than documented truth.
In a house on a street in Colonia Educación in Mexico City on a Tuesday around midday, a mother makes the decision to leave her husband and children and never return, an action that leaves a distinct mark on the family members’ lives, like the crease left on a folded piece of origami paper.
It was through second-hand books that I learned how to read for myself.
We’re better equipped now than perhaps ever before to empathize with and examine how Jackson conveys the Blackwoods’ sense of isolation, both social and physical, from their community.
Melanie Figg’s new full-length poetry collection Trace gives voice to family, feminism, and individual history through the lens of art.
By delving into historic literature, readers and writers can gain a deeper understanding of current day issues and subjects, important in providing invaluable background and context, along with a wider perspective to inform current opinion and work.
Barbara Byar’s collection, Some Days Are Better Than Ours: A Collection of Tragedies, rages against normality, a feat that hits close to home in the COVID-19 era.
Jennifer Fliss and Jennifer Todhunter discuss grief, parenting, resilience, and catharsis.
Cathy Ulrich and Chaya Bhuvaneswar discuss finding a story's pulse, finding time to write, and engaging in community.
Michele Finn Johnson and Tommy Dean discuss saving characters, hearing voices, and giving back to the literary community.
Tara Isabel Zambrano and Christopher Allen discuss expanding The Moment in flash fiction, stirring the bubbling pot of character, and knowing when a draft is done.
The map of human life isn’t a line, and I wanted to show that here. Life can look like a phone call coming from your chest, a door in the middle of the woods, a moon that, for a time, sings, and then is never heard again.
You are not cold nor are you hot. You are, in fact, just perfect.
When family members are the subject of creative nonfiction, is their privacy unfairly infringed upon? Who has the right to tell a particular story? What is the point of sharing personal stories?
In intimate, first-person narration, The Island Dwellers reads like a series of private letters addressed to our hidden selves.
In which Sir David Attenborough speaks of rejection, finding one's voice, and the importance of fighting to be seen.
Dear David: An Advice Column by Yael Van Der Wouden In which Sir David Attenborough speaks to the…
When dolphins die they call out their own name. They do this to make sure their family is close––they do this to remind their near ones: this is who I am. I am here now. I have known joy.