ISSUE 30: Summer 2015

Introduction

Here’s Our Mixtape

I felt like I was making a mixtape—like I was back in my old room, burning incense and popping cassettes in and out of my ghetto blaster.

Perfect Strangeness

When I read a short story, I hope the voice will lead me somewhere I haven't been before.
Fiction

If Only a Flicker

It had been cold last night, a superlative squall of cold.

Peepshow

Betty

The Scar

Clearly, I’m in Trouble

Mani Pedi

Pornorama

Poetry

An Ecology of Being and Non-Being

Yesterday, the first day of spring.

Animal Passion

Standing, still

After Lamb Vindaloo

Excerpt from “Cruising the notorious other self,” a long poem

Two Poems

we are just

Two Poems

Two Poems

Pull my ends/ and see if/ they return/ to centre

Defying Gravity

Mr. Red

Interviews

Limbinal and Its Performances: An Interview with Oana Avasilichioaei

I am glad you raise the question of the relationship between text and performance.

Holding Hands with a Stranger: An Interview with Gregory Pardlo

So when I reference Boethius it’s not because I’ve deeply read him, but because I came across a quotation in passing; it struck me as something to reflect on. Some of them turn into poems, some of them don’t.
Reviews

Maroon of Modernity: A Review of Shane Book’s Congotronic

Alex Ross’s The Rest Is Noise (2007) concludes its history of 20th-century classical music with the observation that the divisions between classical, popular, traditional, and pastiche musical forms are breaking down

“How the silent energy coursed between us”: A Review of Karen Solie’s The Road In Is Not the Same Road Out

Karen Solie’s new collection, The Road In Is Not the Same Road Out (2015) confronts the current historical impasse of society’s pervasive reduction of being, culture, and nature to austerity, alienation, and degradation.

Unheimlich Maneuvers: Erin Moure’s Tiny Theatre of Replicas in Kapusta

In Erin Moure’s new “play-poem-ash-pollen-cabaret” Kapusta, only the cabbages are real.

Affect(at)ion: A Review of Ben Ladouceur’s Otter

Ben Ladouceur’s debut collection is not likely to inspire indifference.