The sailor is a figure of subjectivity in and as flux, aspiring to the condition of the ever-changing sea.

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.

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.

If the central question of the translation debate is how Han writes, her poetry poses a deeper one: can she write at all?

The sailor is a figure of subjectivity in and as flux, aspiring to the condition of the ever-changing sea.

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.

If the central question of the translation debate is how Han writes, her poetry poses a deeper one: can she write at all?

At only fifty pages, YOU, FROM BELOW is epic in scope.

I am flirty and irreverent. Deadpan and oblique. 

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 […]

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.

Fun and revelry can be deeply disruptive forces, ways to destabilize coercive structures. Never underestimate the power of fun.

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.

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 […]

What makes a place utopic? Or rather what is it that makes a place received in people’s imaginations as utopic?

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.

The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In

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.

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?

Read the introduction to our latest issue of the Full Stop Quarterly, “Literary Dis(-)appearances in (Post)colonial Cities.”