Poetry

Three Poems

By Kerry Desrochers

Poems from The Greenaway Suite

By Steven J. Fowler

Two Poems

By Berta García Faet trans. Kelsi Vanada

From the desk of M – – – – – –

By Judith Goldman

Fiction

Plans

By Mike Saeugling

The Mollusk Lady

By Emily Lowe

Luckiest Girl in the World

By Sophie Frances Kemp

Tiny House

By Jared Green

Reviews

The Cloud Notebook by Ada Smailbegovic

By Tristan Beiter

Lindsay Turner, The Upstate

By Leon Pradeau

Sara Nicholson, April

By Noah Warren

Anne Carson, H of H Playbook

By Katie Berta

Commentary

The World is in its Keys: A Conversation with Timmy Straw

By Edy Guy

“Like the Voluntary Disappearance of Space Between Me and You”: Jennifer Soong’s Interior Music

By Chris Hosea

Small Press Economies: A Dialogue

By Hilary Plum and Matvei Yankelevich

The Great Wastepaper Theatre Anthology of Providence, Rhode Island

By Darcie Dennigan

Chicago

Flood Editions Interview

By Peter O’Leary

Carl Sandburg’s Tenant Poetics and the Tragedy of the Two-flat Deconversion

By Philip Ellefson

Experience Report: Sunday Reading Series at Hungry Brain

By Brendan White

Experience Report: Release Party at the Whistler

By Brendan White

From the archives

From Veronica Forrest-Thomson’s “Lilies from the Acorn”

"The activity of wringing lilies from the acorn that Pound attributes to his 'Hugh Selwyn Mauberley' characterizes above all the cluster of theory and practice associated with the 'movement' of Pre-Raphaelitism. As is usual with artistic movements, the practice goes directly contrary to the theory. A theoretical aim of exact representation of the object with all its detailed simplicity of outline...becomes problematic straightaway when the objects are ideas and emotions."

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