We can look at a rainbow crosswalk, maybe take a selfie with it, and feel recognized or represented in some way, but it doesn’t actually create a space for queer or trans belonging in any real sense.

Who lives in the beach town we visit every summer? Who works in, walks by, or rages at the souvenir shops?

Elixir reminds us of the fullness of life, of melody, never a straight line, but rather a round, a chorus joyfully repeated again and again.

I really don’t have a palate for total desolation in books. . . . So maybe as an unconscious decision I worked in these moments of hope or pockets of happiness that saved me from spiraling completely.

Who lives in the beach town we visit every summer? Who works in, walks by, or rages at the souvenir shops?

Elixir reminds us of the fullness of life, of melody, never a straight line, but rather a round, a chorus joyfully repeated again and again.

We cannot fully know saudade until our bodies experience pleasure’s phantom pangs.

. . . like something out of Ŝvankmajer: a tongue torn out and dragging itself along in search of contact and reintegration, streaking blood in its wake.

We can look at a rainbow crosswalk, maybe take a selfie with it, and feel recognized or represented in some way, but it doesn’t actually create a space for queer or trans belonging in any real sense.

I really don’t have a palate for total desolation in books. . . . So maybe as an unconscious decision I worked in these moments of hope or pockets of happiness that saved me from spiraling completely.

We’re all living in a historical moment that we can’t get out of.

You have to stand by your work at the end of the day, and honestly, if this book didn’t make me laugh, I wouldn’t have let it go to print.

The letter resembles such gestures as the smile or the wave in the way it puts faith in the signs we move between each other as subjects.

Cantinflas is the inheritor of millennia of cynicism, a philosophy “pioneered” by the barrel-living, work-scoffing Diogenes.

Almost everyone in the world of Blackwell’s fiction finds themselves trapped in the process of unintentionally suffocating both their significant others and themselves.

I wanted salvation without the fall; I wanted art to save me from life.

Reclaiming Horror, a special issue of Full Stop Quarterly, guest-edited by Gillian Joseph

We’re excited to announce the 2022 Full Stop Editorial Fellows: Ching-In Chen and Gillian Joseph!

The year’s best books, as selected by the editors of Full Stop.

This episode includes an interview with Keely Shinners, as well as a sound experiment between Ansgar Allen and Mike Carrao.