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w/ Emily Alex
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.
G. Samantha Rosenthal
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.
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by Bri Gonzalez
Who lives in the beach town we visit every summer? Who works in, walks by, or rages at the souvenir shops?
Dear Outsiders – Jenny Sadre-Orafai
Who lives in the beach town we visit every summer? Who works in, walks by, or rages at the souvenir shops?
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by Jamie Townsend
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.
Elixir – Lewis Warsh
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.
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w/ Megan Kamalei Kakimoto
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.
Jinwoo Chong
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.
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by Bri Gonzalez
Who lives in the beach town we visit every summer? Who works in, walks by, or rages at the souvenir shops?
Dear Outsiders – Jenny Sadre-Orafai
Who lives in the beach town we visit every summer? Who works in, walks by, or rages at the souvenir shops?
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by Jamie Townsend
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.
Elixir – Lewis Warsh
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.
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by Kelly M.S. Swope
We cannot fully know saudade until our bodies experience pleasure’s phantom pangs.
Saudade for a Breaking Heart – Kristen Lucia Renzi
We cannot fully know saudade until our bodies experience pleasure’s phantom pangs.
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by William Repass
. . . like something out of Ŝvankmajer: a tongue torn out and dragging itself along in search of contact and reintegration, streaking blood in its wake.
No Way in the Skin without This Bloody Embrace – Jean D’Amérique
. . . like something out of Ŝvankmajer: a tongue torn out and dragging itself along in search of contact and reintegration, streaking blood in its wake.
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w/ Emily Alex
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.
G. Samantha Rosenthal
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.
-
w/ Megan Kamalei Kakimoto
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.
Jinwoo Chong
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.
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w/ Sophia Kaufman
We’re all living in a historical moment that we can’t get out of.
Sandra Simonds
We’re all living in a historical moment that we can’t get out of.
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w/ Sarah McEachern
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.
Pyae Moe Thet War
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.
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by Cary Stough
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.
Whom To Send To: Bernadette Mayer’s Lifelong Epistle
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.
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by Julia Norza
Cantinflas is the inheritor of millennia of cynicism, a philosophy “pioneered” by the barrel-living, work-scoffing Diogenes.
Good, Bad, and the Complete Opposite: Cynicism in Golden Age Mexican Cinema
Cantinflas is the inheritor of millennia of cynicism, a philosophy “pioneered” by the barrel-living, work-scoffing Diogenes.
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by Nathan Knapp
Almost everyone in the world of Blackwell’s fiction finds themselves trapped in the process of unintentionally suffocating both their significant others and themselves.
No Consolation: On Gabriel Blackwell
Almost everyone in the world of Blackwell’s fiction finds themselves trapped in the process of unintentionally suffocating both their significant others and themselves.
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by Caroline Reagan
I wanted salvation without the fall; I wanted art to save me from life.
Art as Savior: Against Nature
I wanted salvation without the fall; I wanted art to save me from life.
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by The Editors
Reclaiming Horror, a special issue of Full Stop Quarterly, guest-edited by Gillian Joseph
Call for Submissions
Reclaiming Horror, a special issue of Full Stop Quarterly, guest-edited by Gillian Joseph
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by The Editors
We’re excited to announce the 2022 Full Stop Editorial Fellows: Ching-In Chen and Gillian Joseph!
Announcing the Full Stop Editorial Fellows
We’re excited to announce the 2022 Full Stop Editorial Fellows: Ching-In Chen and Gillian Joseph!
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by The Editors
The year’s best books, as selected by the editors of Full Stop.
The 10 Best Books of 2022
The year’s best books, as selected by the editors of Full Stop.
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by The Editors
This episode includes an interview with Keely Shinners, as well as a sound experiment between Ansgar Allen and Mike Carrao.
Podcast #16 – Keely Shinners, Ansgar Allen, & Mike Corrao
This episode includes an interview with Keely Shinners, as well as a sound experiment between Ansgar Allen and Mike Carrao.