[Giles] feels like she is the bridge: stuck, supporting everyone else in her life, carrying a weight she can’t quite pinpoint.

It is normal to mourn a dying planet, it is common to feel isolated and embittered in this new era, but the true loss would be to accept such disaffection, to not fight for a better tomorrow.

The Black yard show is in dialogue with the Middle American landscape; the padlocked garden and the pockmarked prairie blur each other’s boundaries.

Maybe for the reader, the book itself is like a substitute for a crime, or a certain kind of violence which might otherwise have been turned on the world somehow.

It is normal to mourn a dying planet, it is common to feel isolated and embittered in this new era, but the true loss would be to accept such disaffection, to not fight for a better tomorrow.

The Black yard show is in dialogue with the Middle American landscape; the padlocked garden and the pockmarked prairie blur each other’s boundaries.

Characters, like Lim’s stylistic choices, shift and transform . . . The novel suggests identity is a beguiling, perhaps not even achievable thing: just mirror, marriage, and mirage.

Mahato’s poetic attention interacts with ideas and observations about community and climate, and the spaces in her language are literally filled in with color.

[Giles] feels like she is the bridge: stuck, supporting everyone else in her life, carrying a weight she can’t quite pinpoint.

Maybe for the reader, the book itself is like a substitute for a crime, or a certain kind of violence which might otherwise have been turned on the world somehow.

Whenever I see that “ever since I was a little girl I knew I wanted to be on the computer a lot” meme, I’m like, lol, yes, I truly did.

The situation seemed ripe for mining a precious metal known as “poignancy,” the urgency of the [writers’] strong desires to fulfill their ambitions and the wrenching back of that desire in the form of rejection.

In the end, a long-term structural operating deficit killed UArts, not a capital fundraising shell game or evil provost.

Blending a cultural story and creating something new with it can be good or bad, depending on who’s telling the story and who’s in charge of the narrative.

Failure doesn’t . . . mean we have lost or that we can’t live in a world where Palestine is free, where the Congo is free, where Hawai’i is free, where West Papua is free, and where Western Sahara is free. . . . Everything is broken, but it doesn’t mean that the horror our ancestors experienced or that we continue to bear witness to cannot be healed.

I remembered almost nothing of the narrators apart from their existence. They existed for me as wallpaper . . . Still, when a friend said the same to me, I became defensive. I was convinced that Ginzburg’s was neither an artless nor an arbitrary choice, but one of subtler and more complicated mechanics . . .

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.

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.