January 2021
And thus begins our seventh-fifth number.
Seventy-five is certainly a milestone, but I have learned much from Grandma Huang about age. It was a blessing to live within driving distance of my maternal grandmother during the first few …
January 2021
And thus begins our seventh-fifth number.
Seventy-five is certainly a milestone, but I have learned much from Grandma Huang about age. It was a blessing to live within driving distance of my maternal grandmother during the first few …
7 October 2020
During last year’s annual conference for the Association of Writers and Writing Programs, more commonly known as AWP (where did the other “W” go?), I participated on a panel called “Big Shoes: New Directions at Old Magazines,” …
14 August 2020
Print can seem like a slow medium these days. In the last issue, I started my note to the reader admitting that I—we, I could safely generalize—did not know what the pandemic would look like when the …
Miguel Collazo’s puzzling, spasmodic novel The Journey (1968) is a multigenerational tale of hapless inhabitants persisting on a strange planet. The novel hopscotches across hundreds of years, yet carries inside it relics of its origins in post-revolutionary Cuba. While this …
Elena Ferrante’s new novel, The Lying Life of Adults, is not a book that asks to be liked—at least, not by adults. Adult readers are, after all, just more of those adults who wander through the novel’s pages, telling …
In his 1923 book Spring and All, William Carlos Williams declares that “either to write or to comprehend poetry the words must be recognized to be moving in a direction separate from the jostling or lack of it which …
In a decade of reading and writing about motherhood poetry—including an essay-review in these pages in 2019—I have found no universal truths about motherhood. However, as I’ve worked with poet Nancy Reddy to edit an …
INTRODUCTION
Yaron Michael Hakim has been painting at the limits of human possibility. Across two large bodies of work, Anthropophagy (2016–17) and Psittaciformes (2017–present), Hakim has used the titular figures, the cannibal and the parrot, respectively, to undertake these tremendous …