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by Jon Repetti
The sailor is a figure of subjectivity in and as flux, aspiring to the condition of the ever-changing sea.
Ultramarine – Mariette Navarro
The sailor is a figure of subjectivity in and as flux, aspiring to the condition of the ever-changing sea.
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by Erin Evans
An oral history is a unique form of nonfiction where, from the beginning, we are given no promise of truth and the editors make no claims toward a clear, ideologically-specific thesis about their subjects.
Mouthing Off: Oral History as an Anticapitalist Form
An oral history is a unique form of nonfiction where, from the beginning, we are given no promise of truth and the editors make no claims toward a clear, ideologically-specific thesis about their subjects.
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by Keely Shinners
When it comes to talk of war––the city destroyed, the city inflamed––Bestall is attracted to Beirutians’ cool detachment, their resilience that shies away from heroism, their elegant remove, which characterizes so much of her writing.
Except for Breath – Lucienne Bestall
When it comes to talk of war––the city destroyed, the city inflamed––Bestall is attracted to Beirutians’ cool detachment, their resilience that shies away from heroism, their elegant remove, which characterizes so much of her writing.
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by Yoonmin Kim
If the central question of the translation debate is how Han writes, her poetry poses a deeper one: can she write at all?
I Put the Evening in the Drawer – Han Kang
If the central question of the translation debate is how Han writes, her poetry poses a deeper one: can she write at all?
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by Jon Repetti
The sailor is a figure of subjectivity in and as flux, aspiring to the condition of the ever-changing sea.
Ultramarine – Mariette Navarro
The sailor is a figure of subjectivity in and as flux, aspiring to the condition of the ever-changing sea.
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by Keely Shinners
When it comes to talk of war––the city destroyed, the city inflamed––Bestall is attracted to Beirutians’ cool detachment, their resilience that shies away from heroism, their elegant remove, which characterizes so much of her writing.
Except for Breath – Lucienne Bestall
When it comes to talk of war––the city destroyed, the city inflamed––Bestall is attracted to Beirutians’ cool detachment, their resilience that shies away from heroism, their elegant remove, which characterizes so much of her writing.
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by Yoonmin Kim
If the central question of the translation debate is how Han writes, her poetry poses a deeper one: can she write at all?
I Put the Evening in the Drawer – Han Kang
If the central question of the translation debate is how Han writes, her poetry poses a deeper one: can she write at all?
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by David Dufour
At only fifty pages, YOU, FROM BELOW is epic in scope.
You, From Below – Em J Parsley
At only fifty pages, YOU, FROM BELOW is epic in scope.
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w/ Stephanie Yue Duhem
I am flirty and irreverent. Deadpan and oblique.
Ashley D. Escobar
I am flirty and irreverent. Deadpan and oblique.
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w/ Matthew Kinlin
Canadian author, Derek McCormack, writes like Vincent Price possessed by Elsa Schiaparelli: minimal, obscene, cartoonish. His early works include Dark Rides (1996), The Haunted Hillbilly (2003) and The Show That Smells (2008). In 2011, McCormack was diagnosed with abdominal cancer. Since then, he has published The Well-Dressed Wound (2015) and Castle Faggot (2020), both with […]
Derek McCormack
Canadian author, Derek McCormack, writes like Vincent Price possessed by Elsa Schiaparelli: minimal, obscene, cartoonish. His early works include Dark Rides (1996), The Haunted Hillbilly (2003) and The Show That Smells (2008). In 2011, McCormack was diagnosed with abdominal cancer. Since then, he has published The Well-Dressed Wound (2015) and Castle Faggot (2020), both with […]
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w/ Griffin Reed
That feeling of disorientation might be my favorite thing about poetry. I think poems can bring about new possibilities by skirting the edges of sense, or they can expand our capacity for sense-making.
Mary Helen Callier
That feeling of disorientation might be my favorite thing about poetry. I think poems can bring about new possibilities by skirting the edges of sense, or they can expand our capacity for sense-making.
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w/ Eva Dunsky
Fun and revelry can be deeply disruptive forces, ways to destabilize coercive structures. Never underestimate the power of fun.
Margaret Vandenburg
Fun and revelry can be deeply disruptive forces, ways to destabilize coercive structures. Never underestimate the power of fun.
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by Erin Evans
An oral history is a unique form of nonfiction where, from the beginning, we are given no promise of truth and the editors make no claims toward a clear, ideologically-specific thesis about their subjects.
Mouthing Off: Oral History as an Anticapitalist Form
An oral history is a unique form of nonfiction where, from the beginning, we are given no promise of truth and the editors make no claims toward a clear, ideologically-specific thesis about their subjects.
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by Olena Jennings
This essay was originally published in the Full Stop Quarterly “Literary Dis(-)appearances in (Post)colonial Cities,” edited by Michelle Chan Schmidt. Subscribe at our Patreon page to get access to this and future issues, also available for purchase here. Ukrainian poetics function as a mode of defense against disappearance and a mode of remembrance in the city. I will address the […]
The Appearance of Urban Memory in Ukrainian Poetics
This essay was originally published in the Full Stop Quarterly “Literary Dis(-)appearances in (Post)colonial Cities,” edited by Michelle Chan Schmidt. Subscribe at our Patreon page to get access to this and future issues, also available for purchase here. Ukrainian poetics function as a mode of defense against disappearance and a mode of remembrance in the city. I will address the […]
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by poupeh missaghi
What makes a place utopic? Or rather what is it that makes a place received in people’s imaginations as utopic?
Notecards on Shit
What makes a place utopic? Or rather what is it that makes a place received in people’s imaginations as utopic?
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by Giorgia Tolfo
Lublin is not only a road trip on foot in central Europe, nor a coming-of-age novel . . . It is the translation into fiction of the economic migrant’s existential condition, caught and lost in the endless borderland that extends between their deprived place of origin and the metropole’s illusion of socio-economic elevation and fulfillment.
In Search of Impossible Places?: Lublin by Manya Wilkinson
Lublin is not only a road trip on foot in central Europe, nor a coming-of-age novel . . . It is the translation into fiction of the economic migrant’s existential condition, caught and lost in the endless borderland that extends between their deprived place of origin and the metropole’s illusion of socio-economic elevation and fulfillment.
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by Michael Schapira
The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In
20 4 420: Irie Edition
The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In
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by The Editors
This special issue of the FULL STOP QUARTERLY will aim to hold folklore as a prism through which to view connection, the self, and the future. . . . It will explore folklore in and as literature, as process, and as performance.
Call for Pitches
This special issue of the FULL STOP QUARTERLY will aim to hold folklore as a prism through which to view connection, the self, and the future. . . . It will explore folklore in and as literature, as process, and as performance.
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by The Editors
In times like ours, times of fracture, depravity and upheaval—times which are really not that different than any other time on earth, except for the speed and scale at which violence is exercised—what is the value of art?
Call for Pitches
In times like ours, times of fracture, depravity and upheaval—times which are really not that different than any other time on earth, except for the speed and scale at which violence is exercised—what is the value of art?
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by Michelle Chan Schmidt
Read the introduction to our latest issue of the Full Stop Quarterly, “Literary Dis(-)appearances in (Post)colonial Cities.”
Dis(-)appearing Cities or: How I Learned to Stop Walking and Love the Empire
Read the introduction to our latest issue of the Full Stop Quarterly, “Literary Dis(-)appearances in (Post)colonial Cities.”