I disrupt the concupiscence of tube worms / where your snowy owl eye consults among white crusts / the venom of my gymnodactyl eye / which bribes the slag of trilobites
Reconciling a futurist aesthetic with a story of the past.
The writer on his new short story collection, creating realistic characters that don’t always change, and how fatherhood has impacted his relationship to language.
The poets on their latest collections, the texture of language, and work that pulls the rug from under us.
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.
Documenting disappearing languages.
The poet on the physicality of language, making a process to mess it up, and curiosity as optimism.
Reassembled fragments of texts and vocalizations invite audiences into the immersive installations of these two artists.
Lying on the couch all day glass of water a highly disgusting smoothie four coloring books, / a myriad of psychiatric and “anti-inflammatory” medication / anti-inflammatory Jewish history books / anti-inflammatory pretzel sticks / anti-inflammatory medicinal cannabis
The poet on the politics of the gaze, the migratory act of reading, the anxiety of bilingualism, and the universality of shame.
Disfiguring the hegemony of standard English.
Writer and vocalist Keckler performs impersonations of obscure larger-than-life personalities he meets. In her first novel, Laing impersonates Kathy Acker.
The writer on his short story collection, Hybrid Creatures, and using mathematical equations, HTML code, music symbols, and propositional logic to build narratives.
The artist talks about the genesis, composition, and execution of a recently completed work.
The imagined city from Gladman’s Ravicka series is as elusive as human self-hood.
“To a small village, at the end of winter, comes a mysterious package addressed to no one.” Thus begins Damnation, Janice’s Lee’s new novella.
Althoff engages multiple art modes—from painting to making music, as a band member of Workshop and under the pseudonym Fanal.
Lingering with a moment, operating in the dark, and moving through membranes.
Emily Hoffman on the broken patterns in William Forsythe’s Sider, a work that conjures and contends with Elizabethan tragedy.