Introducing the Full Stop Editorial Fellows
Get to know our 2024 Full Stop Editorial Fellows, Keely Shinners and Annalise Peters!
The Degenerates – Raeden Richardson
Maha’s gift is born of grief, of the fear and pain that has defined her own life, and she too is a degenerate.
The space of the imagination in all its surreality is the space in which the stories [in Bhanu Pratap’s CUTTING SEASON] are anchored.
The Burning Plain – Juan Rulfo
The real perpetrator of violence in THE BURNING PLAIN is [the] cycle of poverty and the systems that engender it. The characters in these stories are so vulnerable that their existence rests on an edge, and the smallest upheaval or change becomes magnified and topples them completely.
Instructions for the Lovers – Dawn Lundy Martin
In this summer of institutionally sanctioned murder, the poet wakes each morning to “a fireheart grief” and drinks her coffee “into the griefmouth.”
For all its formal intricacies [About Ed] never comes across as an act of literary showmanship. Instead, it reorients a narrative genre that too often hinges upon the irreducibility of its subject to face outward, toward the social formations that shape us.
I didn’t have a grand narrative. I didn’t have one idea of what it meant. I had many ideas of what might be happening to me, what sort of transformation this was . . . I wanted to leave room for that uncertainty and that process of making up my mind.
Generation Loss – Elizabeth Hand
It was true in 1959, it was true in 2007, and it is true in 2024 that a woman is considered upsetting when she can’t roll with the world. Hand’s Cass Neary distinguishes herself from Jackson’s tradition by intentionally refusing to aspire to a mainstream life and surviving anyway.
In [Juan Emar’s] work . . . we can discover the possibilities of a literature that both resists and reconciles the European tradition with the rest of the world. It is in writers like Emar that we can find what Goethe called a Weltliteratur—a World Literature–and a Latin American tradition which . . . has vigorously and defiantly come back to life.
My grandmother’s house, which is the house in WOODWORM, is charged with strange energy. Nobody wants to sleep there alone, and it is common to have this feeling of being accompanied even if you don’t see or hear anyone.