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Language as Hex: Gracie Leavitt Interviewed by Lindsay Turner
Livingrycover

The poet on her new collection and what it means to mess with, fuss with, break, and refresh language.

From What You Have Heard Is True by Carolyn Forché
What You Have Heard Is True By Carolyn Forche

A Memoir of Witness and Resistance. 

One Poem by Alli Warren
Cutoffsandabird 2019

When the sun goes down / The spirits come out / We huff on a pinwheel / And say it spins of its own accord / Rolling out the bins in saturated air / Oiling the slop to ease extraction / Accumulate, hoard, die, repeat

In the Eye of the Beholder: Tori Sampson Interviewed by Aleshea Harris
If Pretty Hurts0531R

The emerging playwright takes on beauty standards and societal expectations.

End Page by Sto Len
Blackened Ntc

Sto Len is a printmaker, painter, and installation and performance artist. He cofounded the alternative arts space Cinders Gallery in Brooklyn.

Domesticating Waves in the Netherlands by Stefan Helmreich
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Two years back, in the midst of anthropological research about the science and culture of wave monitoring and modeling in the Netherlands, I joined in an event called Waterwolf 2016, a flood preparedness exercise staged in the small municipality of Marken, just twenty kilometers outside Amsterdam. I

Symphony for Wind and Waves by Lou Hoyer
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Far away from any coastline. Where the wind strikes the water for the first time. Where waves start to grow. A young wave stretches its quivering back, reaching for the wind.

There Is Water by Maggie Umber

Painted on Yupo paper with water-soluble crayon, watercolor pencil, water brush, paper towel, and Q-tip.

Lovely Guns of Glacial Shifting by Jasmine Dreame Wagner

A CAST of eight: ACTOR, CHEF, COMPOSER, DANCER, FILMMAKER, PAINTER, and siblings: SISTER and BROTHER. If necessary, ACTOR may be played by a PHOTOGRAPHER.

from The American Museum of Water by Natalie Diaz

A recording plays from somewhere high, / or low, through the falling dust-light: / I can’t tell you anything new about the river— / you can’t tell a river to itself.

The Cabin by Brenda Coultas

coffee cups / stirrer sticks / napkins and cookies / on the tray top / satellite tv / an office in the air

The Cult of Mary by Laura van den Berg

As we entered Arezzo, the guide pointed out the prostitutes lining the road. The women looked like awkward, flashy birds, teetering in bright spandex and spiked heels, cheap gold jewelry flashing in the summer sun.

from Oval by Elvia Wilk

Anja skidded down the slope, which was becoming muddy from overuse by feet. It still hadn’t been paved or even scattered with gravel, since Finster didn’t want to admit that the state of the pathway could no longer reasonably be called temporary.

from Northern Light by Kazim Ali

From 1975 to 1979 I grew up in a temporary company town made up of trailers in the boreal forests of northern Manitoba. My father was one of the hydroelectric engineers working on a joint project between the Canadian and Soviet governments to dam the Nelson River at a place called Jenpeg.

Saltscapes by Ragna Róbertsdóttir
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Icelandic artist Ragna Róbertsdóttir mines the land and seascapes of her country to create sparse and delicate works.

Cecilia Vicuña by Elianna Kan
Cv Cabeza Amarrada 1 Hr

The poet and artist invokes ancient matriarchal cultures, Indigenous folkways, and the speculative capacities of language so that we might rediscover our kinship with nature.

Tomoko Sauvage by Britton Powell
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The musician delves into the sonic properties and generative caprice of resonating bowls of water and melting blocks of ice—instruments that propel her latest album, Musique Hydromantique.

Jessica Grindstaff of Phantom Limb by Sophie Hunter
Falling546 Copy

The final part of a performance trilogy on climate change, Falling Out fuses puppetry, Butoh, and Flex, to reflect on the Fukushima Daiichi nuclear disaster.

Janaina Tschäpe by Francesco Clemente
2 Jts P 18 4336 Shadow Lake 2018 Photo Jason Wyche

The paintings in HumidGray and ShadowLake evoke synesthetic colors, remembered landscapes, and the physical performance inherent in marking a canvas.

Ruth Cuthand by Chantal McStay
Not May Land

Beading images of deadly viruses and bacteria into enticing designs, Cuthand makes visible Indigenous communities’ exposure to disease from first colonial contact to today.

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