Poetry

River and Sugardusk

By Ásta Fanney Sigurðardóttir trans. Vala Thorodds

More and More Text of Yes, Sydo

By Danielle LaFrance

Tidings

By Aaron Lopatin

Poem Beginning with a Question about Wasps

By A. R. Zarif

Fiction

Thing Theory

By Adrienne Chung

Plans

By Mike Saeugling

The Mollusk Lady

By Emily Lowe

Luckiest Girl in the World

By Sophie Frances Kemp

Reviews

Anna Kornbluh, Immediacy, or, The Style of Too Late Capitalism

By Omid Bagherli

Anthony Madrid, Whatever’s Forbidden the Wise

By Tanner Stening

Max Blecher, The Lighted Burrow

By Mark Mangelsdorf

Ma Yan, I Name Him Me

By Cecily Chen

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

Experience Report: Poetry & Biscuits Reading Series

By Brendan White

Statement on the Events of May 7 at the University of Chicago

Flood Editions Interview

By Peter O’Leary

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

By Philip Ellefson

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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