The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In

Literature, as Lefebvre reads it, cannot be reduced to language, or genre, or nation—fluidity is more productive, more generous, more expansive.

How does a person locate the city that seems to not want them? This is a question that came to mind as I read Ayhan Geçgin’s Lungo Cammino (tr. Giulia Ansaldo, 2023) and revisited Thuận’s Chinatown (tr. Nguyễn An Lý, 2022). In both texts, the cities in which the characters are situated remain aloof, distant, […]

TODOS LOS CAMINOS bridges two important language communities and invites them to find each other through poetry.

Literature, as Lefebvre reads it, cannot be reduced to language, or genre, or nation—fluidity is more productive, more generous, more expansive.

TODOS LOS CAMINOS bridges two important language communities and invites them to find each other through poetry.

Personal relationships are as shaped by class as they are by anything else, though we sometimes willfully forget this.

By tampering with Greek and utilizing it as the matter of his poetry, Khaleed breaks down and interrupts this monocultural and monolinguistic assumption of who is supposed to be part of the Greek nation state.

I’ve been into horror movies and things that are scary or creepy since I was a little kid. I was obsessed with monsters and found something comforting about them.

I think the poem tells you what form it wants to be if you listen carefully. I love when a poem is funky and wants weird line breaks or caesuras.

Men taught me that I was indestructible early on, and continue to so frequently to the point that I understand now that I am immortal. When will men learn that I am indestructible, and they are the ones destroying themselves?

A city, and also a language, is not just a product of the literal body, but of the emotional and conceptual possibilities of consciousness itself.

How does a person locate the city that seems to not want them? This is a question that came to mind as I read Ayhan Geçgin’s Lungo Cammino (tr. Giulia Ansaldo, 2023) and revisited Thuận’s Chinatown (tr. Nguyễn An Lý, 2022). In both texts, the cities in which the characters are situated remain aloof, distant, […]

Hong Kong is often represented as a port city—a colonial emporium, a gateway to China, a non-space of transit, a stop in multigenerational migrations, a floating city amnesiac about its past and uncertain about its future.

To a certain extent, living in a “cool” city was the promised land that allowed people to swallow the bitter pill of the 1990s neoliberal shock doctrine.

All of Kluge’s books contribute to one large, ongoing project to build up a toolkit of resistant feelings that readers can use to plot their own ways out.

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.”