What’s important about Bratton’s rendering of sex isn’t just that it’s true to life, but that it paints a complex portrait of a person with a dark sexual history.

Each story is narrated from a third person ranging from a distant voice to a very close omniscient one . . . Consistent, however, is each character on a journey with no end.

I became very interested in how . . . linguistic dynamics played out, and how they related to power, and who had dominance in any given discourse.

Sade’s aristocratic libertines were poised to benefit from all their cruelty, but Elsby’s depiction of this former professor’s cruelty reveals a sort of purposeless, indifferent violence. Cruelty becomes regularized in this world, and that is partly why it is so sickening.

What’s important about Bratton’s rendering of sex isn’t just that it’s true to life, but that it paints a complex portrait of a person with a dark sexual history.

Each story is narrated from a third person ranging from a distant voice to a very close omniscient one . . . Consistent, however, is each character on a journey with no end.

Sade’s aristocratic libertines were poised to benefit from all their cruelty, but Elsby’s depiction of this former professor’s cruelty reveals a sort of purposeless, indifferent violence. Cruelty becomes regularized in this world, and that is partly why it is so sickening.

Can people create meaningful change by posting? Is Twitter bad for politics?

I became very interested in how . . . linguistic dynamics played out, and how they related to power, and who had dominance in any given discourse.

What drives us to steal? To become a thief? To get the things we want—physical objects, words, ideas—by taking them?

Magic, magical realism, or magical thinking are the ultimate expression of powerlessness, but they are also holders of the possibility of a better, more just, world.

One of the great potentials of science fiction is its ability to relativize our own experience, to put it in different contexts.

Hoffman had to translate a Ukrainian particularity into an American one. This task shows the power at the core of the art of translation.

The word “classic” once had a very specific meaning, namely a text written in Greek and Latin during the era of antiquity.

With a figure as important to the American far-right as Gottfried, what excuse is there to lend him the veneer of academic legitimacy and to suggest his views have merit in scholarship?

On her own, Converse created great and complex work, but what might the canon look like today if she found an audience in her lifetime? If she created in communion with other great art?

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.

The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. We used to invoke the immortal and ominous words of Prince Buster, “Enjoy yourself, it’s later than you think,” but having recently moved to Scotland I’ll invoke the immortal and precise words of Linton Kwesi Johnson, “Inglan is a bitch, […]

Full Stop stands proudly in solidarity with the people of occupied Palestine in committing to the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) guidelines.

[This issue aims] to explore how the intersection of language, queerness, and shifting dynamics of racialization and belonging can help generate language to define oneself and to approach literary and arts criticism without centering Global North, white, male, cis-hetero standpoints.