At the beginning of this story I felt slow and sad and stuck, like I was repeatedly catching in my own throat, a balled up obstruction retching endlessly in the corner of my life.
Jasmine doesn’t do advertisements. Since her early 20s, she’s been staunchly anti-capitalist, believes ads are, at best, meaningless propaganda that only serve the ruling class.
Kashmiri poet Sanna Wani and I began conversing over Twitter during the summer of 2020, but I had been aware of her work since reading her poem “Here is Longing” in Hobart in December 2019.
Sara Nović’s latest novel True Biz is an exposé of the marginalization of the Deaf community borne out of ASL stigma and abuse of power by the hearing world.
When I first heard about Gillian Sze’s new collection Quiet Night Think (ECW April 2022) in late 2021, I felt immediately drawn to the book because its title references one of the world’s most widely taught and read Chinese poems, written by the Tang dynasty Chinese poet Li Bai.
The back cover of Therese Estacion’s Phantompains notes that she wrote her debut collection “out of necessity” after being hospitalized for a rare bacterial infection, resulting in the loss of “both of her legs below the knees, several fingers, and reproductive organs.”
I’m writing this review in the middle of self-isolation. My roommate has recently tested positive for COVID-19, and for the past week, we’ve both been sequestered to our respective rooms, wearing masks during short excursions to make food or go to the bathroom.
Aaron Schneider’s debut experimental short fiction collection What We Think We Know explores the vulnerability and emotional well-being of its characters through novel rhetorical strategies such as charts, graphs, reports, lists, taxonomies, interviews, observations, and data analysis.
The mountains closest to me, the peaks of the Olympic range across the Salish sea, don’t appear along the horizon every day, not even when I look for them past the cedar and the waves.