For Aghamohammadi, sensory input is more than data; it is life’s performance of a song by way of you

[Whitmore] wrote a classic queer book that has fortunately been given a new life and retains all its powerful weirdness

Realistic Fiction offers a playful interrogation of genre and storytelling, and provides knowing insight into the trap of normative gender.

You have to let in the world. I have to let in the world in order to get a book to the point that it’s even ready, because I really rely on my readers to help shape it. 

For Aghamohammadi, sensory input is more than data; it is life’s performance of a song by way of you

How does one write a novel about things that are not there? About the missing, the lost, the absent? Or is this the only kind of writing there is?

[Whitmore] wrote a classic queer book that has fortunately been given a new life and retains all its powerful weirdness

Realistic Fiction offers a playful interrogation of genre and storytelling, and provides knowing insight into the trap of normative gender.

You have to let in the world. I have to let in the world in order to get a book to the point that it’s even ready, because I really rely on my readers to help shape it. 

I’d love to think that Lonesome Ballroom…might prove one of many “weird” books that make our broader tradition stranger and therefore stronger, more strapping.

The aesthetic that attracts me is trash and discarded stuff. That’s the rat seduction. 

I am flirty and irreverent. Deadpan and oblique. 

We were kids together. And now we are not.

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?

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.”