An indispensable living document of a people’s fight against annihilation and a thesis statement on what makes us human.

Greenberg depicts these figures with sympathy, at times poignancy, yet never with forgiveness.

What I really love about both science and writing are the imaginative leaps that are required to discover something new.

NEVERMORE takes me closer than any other novel I have read to the exacting work of translation.

An indispensable living document of a people’s fight against annihilation and a thesis statement on what makes us human.

Greenberg depicts these figures with sympathy, at times poignancy, yet never with forgiveness.

NEVERMORE takes me closer than any other novel I have read to the exacting work of translation.

[It’s a] privilege to witness such a wide variety of minds going at it, appreciating, remembering, confronting, excoriating an entire universe of art, from the canvases of Degas and Watteau to the Akkadian-carved basalt stele of Hammurabi.

What I really love about both science and writing are the imaginative leaps that are required to discover something new.

Interview [audio + transcript] with Max Fox, M.E. O’Brien, and Tiana Reid, conducted by Nico Millman

Adriana contains both a Scheherazade and the sultan who wants to kill her. She is paralyzed, almost like the living dead, because she feels that the disappearance of her family foretells her own.

I was trying to capture the reality of the old Cambodian way of seeing the world, where there is another world that is alongside this world.

All of Kluge’s books contribute to one large, ongoing project to build up a toolkit of resistant feelings that readers can use to plot their own ways out.

Fiction that imagines the world from its so-called “peripheries” may in fact upend the way we perceive the concept of the “center” itself, reorienting the weight of worldliness towards the edge, the margin, the contact zone.

As [Mersal’s] recursive and often discontinuous writing attests, the drive toward progress tends to entail an imperfect erasure, whose traces might resurface—as if through a palimpsest—if only one cared to look.

The body can guide the process of its own translation if its author will let it. An expert at adaptation, it already knows how to exist on the page.

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

Get to know our 2024 Full Stop Editorial Fellows, Keely Shinners and Annalise Peters!

Full Stop invites applications for two Full Stop Editorial Fellows. These six-month fellowships invite early career writers or editors to independently envision, commission, and edit an issue of the Full Stop Quarterly.

Lately I’ve stopped looking at my father; his body is just another part of the room now, like the bed, the chair, and the window onto the maternity ward.