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w/ Colm McKenna
You never hear painters or musicians complain about how painful it is for them to work, but writers frequently moan about it. That lack of pleasure in the work is often palpable when you read it.
John Tottenham
You never hear painters or musicians complain about how painful it is for them to work, but writers frequently moan about it. That lack of pleasure in the work is often palpable when you read it.
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by Noah Slaughter
The collection plays in an often melodious, sometimes jangling range of registers
White Nights – Urszula Honek
The collection plays in an often melodious, sometimes jangling range of registers
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by Soni Wadhwa
Without dedicated accounts of the voices and roles of women, national literary traditions are incomplete.
The First Jasmines – Saima Begum
Without dedicated accounts of the voices and roles of women, national literary traditions are incomplete.
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by Yasmin Desouki
Translation, like motherhood, entails a level of invisible labor that often escapes the general public
“To Translate is to Remember How to Resist”
Translation, like motherhood, entails a level of invisible labor that often escapes the general public
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by Noah Slaughter
The collection plays in an often melodious, sometimes jangling range of registers
White Nights – Urszula Honek
The collection plays in an often melodious, sometimes jangling range of registers
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by Soni Wadhwa
Without dedicated accounts of the voices and roles of women, national literary traditions are incomplete.
The First Jasmines – Saima Begum
Without dedicated accounts of the voices and roles of women, national literary traditions are incomplete.
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by Yasmin Desouki
Translation, like motherhood, entails a level of invisible labor that often escapes the general public
“To Translate is to Remember How to Resist”
Translation, like motherhood, entails a level of invisible labor that often escapes the general public
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by Eamon McGrath
The noises that Kharkiv is missing—voices chattering, music playing, cars honking—speak most loudly
Arabesques – Serhiy Zhadan
The noises that Kharkiv is missing—voices chattering, music playing, cars honking—speak most loudly
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w/ Colm McKenna
You never hear painters or musicians complain about how painful it is for them to work, but writers frequently moan about it. That lack of pleasure in the work is often palpable when you read it.
John Tottenham
You never hear painters or musicians complain about how painful it is for them to work, but writers frequently moan about it. That lack of pleasure in the work is often palpable when you read it.
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w/ Griffin Reed
This thing is well-documented in Pynchon — technology and capital are one entity
Devin Thomas O’Shea
This thing is well-documented in Pynchon — technology and capital are one entity
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w/ Norman Feliks
As I was writing, I was wrestling with the way American nationalism (which I think patriotism is usually a euphemism for) devours movements and history.
Ben Nadler
As I was writing, I was wrestling with the way American nationalism (which I think patriotism is usually a euphemism for) devours movements and history.
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w/ Viviana Freyer
I think the right to privacy is something that we have very blindly jettisoned in recent years. We are not at all aware of the damage it is doing to us, to have our privacy so invaded and marketed and sold.
Stephanie Sy-Quia
I think the right to privacy is something that we have very blindly jettisoned in recent years. We are not at all aware of the damage it is doing to us, to have our privacy so invaded and marketed and sold.
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by Jade Gu
Traditionally, Western concepts of originality in art are not equipped to consider whether creativity is possible under conditions of continual reproduction; it presupposes an authentic source of spontaneous genius.
Little Pink Book as Literary Fanfiction
Traditionally, Western concepts of originality in art are not equipped to consider whether creativity is possible under conditions of continual reproduction; it presupposes an authentic source of spontaneous genius.
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by Jake Pitre
How do we come to terms with the undeniable pleasures of this blatantly ideological genre?
“Homicide: Life on the Street” and the Perverse Pleasures of Copaganda
How do we come to terms with the undeniable pleasures of this blatantly ideological genre?
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by Mia Foster
As our attention spans dwindle and our phones loom over our everyday experiences, we are increasingly demanding that novels capture our attention in the same way.
Printing Out the Internet: On Madeline Cash’s “Lost Lambs”
As our attention spans dwindle and our phones loom over our everyday experiences, we are increasingly demanding that novels capture our attention in the same way.
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by Noah Berlatsky
Who keeps us safe all those nights? We do, by the stories we tell and the stories we cut apart, with chainsaws and with hearts.
Hearts, Chainsaws, and Poetry: On Elizabeth R. McClellan’s “Is My Chainsaw a Heart: 13 Centos”
Who keeps us safe all those nights? We do, by the stories we tell and the stories we cut apart, with chainsaws and with hearts.
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by Natália Affonso
Read the introduction to our latest issue of the Full Stop Quarterly, “Tender Tongues.”
Tender, Tenderized and Intertwined
Read the introduction to our latest issue of the Full Stop Quarterly, “Tender Tongues.”
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by Michael Schapira
The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal.
20 4 420: Irie Edition
The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal.
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by Michael Schapira
The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In
20 4 420: Irie Edition
The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In
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by The Editors
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.
Call for Pitches
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.