I find my poetics even more interested in situatedness than knowledge, and that’s why place became so important in the book as an organizing principle. Or like an active interlocutor and a site of convergence.

The dance of these poems keeps a keen rhythm

I feel at ease in male friendships and at ease in what some might consider male spaces. I hate men. I love men. 

So much time inside such a limited subjectivity also made me question my own. Was I right to read Hugues as pathological, even psychopathic?

The dance of these poems keeps a keen rhythm

So much time inside such a limited subjectivity also made me question my own. Was I right to read Hugues as pathological, even psychopathic?

In this era of autocorrect, Lewis’s characters speak in typos

Is Bonnefoy suggesting that we read these European colonial narratives as magical realist texts?

I find my poetics even more interested in situatedness than knowledge, and that’s why place became so important in the book as an organizing principle. Or like an active interlocutor and a site of convergence.

I feel at ease in male friendships and at ease in what some might consider male spaces. I hate men. I love men. 

To me, the most sensational thing in life, the real trippy thing, is to realize that everyone you know, everyone you hang out with, everyone you’ve ever met: they’re all thinking at all times. To really know that, to really understand that is sensational.

What does it mean to have a fake novel? What does it mean to have a novel that’s thinking, aware of itself as a novel, and thinking about

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.

In both memoirs, evidence serves less to solve a crime than to reconstruct a self—both the dead family member and the writer grappling with their loss.

For a while . . . I thought that no one should write about eating disorders at all because there was no way to do so without somehow glamorizing them.

It would be tempting, if you were a theoretical physicist working on the first atomic bomb, to imagine yourself as a demiurge. To frame the process as spiritual longing for God’s wrath . . .

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.”