I feel very deeply that I am a child of Haïfa, this mountain place facing the sea, on the shores of the Mediterranean, while being at the same time a citizen of the world.

With Kairos, Erpenbeck proves the impossibility, irresponsibility even, of an easy binary and reminds us that the only thing we can be certain of is an ending that will bring along change.

While set in the 1940s, Earling’s engagement with the complexities of reservation violence rooted in the traumas of settler colonialism and modern capitalism, make the story of Louise White Elk as resonant as it was when the novel was first published in 2002.

This allegorical world in my writing life . . . it’s an equally alive and present world alongside my lived life. . . . Maybe it’s unclear which narrative is within the other—maybe it’s more like they’re all intertwined.

With Kairos, Erpenbeck proves the impossibility, irresponsibility even, of an easy binary and reminds us that the only thing we can be certain of is an ending that will bring along change.

While set in the 1940s, Earling’s engagement with the complexities of reservation violence rooted in the traumas of settler colonialism and modern capitalism, make the story of Louise White Elk as resonant as it was when the novel was first published in 2002.

What does it mean to be a good immigrant daughter? What does it take to be regenerative, resistant, and nostalgic?

Houston refutes language, or at the very least refuses to be authored by it.

I feel very deeply that I am a child of Haïfa, this mountain place facing the sea, on the shores of the Mediterranean, while being at the same time a citizen of the world.

This allegorical world in my writing life . . . it’s an equally alive and present world alongside my lived life. . . . Maybe it’s unclear which narrative is within the other—maybe it’s more like they’re all intertwined.

Part of what I’m working through is the sense of there being always the ruins, always the death and deathliness in the space and time of New World blackness.

Kissing, sucking, chewing, salivating, feasting, fasting. What does the mouth do when we’re thinking, reading poetry, watching or approaching a lover or an enemy, a horror movie or a romcom? I’m curious.

Splicing one’s twenty-first-century world with that of a historical figure is a multi-faceted labor of translation–not only across time, but across media, languages, and cultures.

Somehow, it was as if the playwright had invited the audience to his own wake, with the strictest of instructions that everybody for crying out loud have a good time.

Far from a recluse, Ashbery was in fact super-social in his own way, someone who prized poets’ work, a prolific blurber of younger poets’ books.

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.

Enjoy yourself, it’s later than you think.

Reclaiming Horror, a special issue of Full Stop Quarterly, guest-edited by Gillian Joseph

We’re excited to announce the 2022 Full Stop Editorial Fellows: Ching-In Chen and Gillian Joseph!

The year’s best books, as selected by the editors of Full Stop.