When my mother left for the man with a cruel son, I kept / my nails sharp for when he would draw back, swing. I left

Mazin, our first, arrives in 92. He comes out at three and a half kilograms, which the doctor tells me is normal.

Reading my grandfather’s notebooks, I’m trying to / know madness as a way of searching.

We leave our offerings. We prepare the meat the way / we were taught, snap the wing, relish the song of crack

I can still feel / my father’s hands / pulling my hair / into a rough ponytail

I was twenty-seven when I saw him again, at a birthday party for my sister that uncomfortably straddled the line between our broke college years and some recently adopted bourgeois values.

A drowning person will not splash and wave, will not shout or call out for help. Contrary to the ways in which it is dramatically performed on television and in film, drowning is nearly always physically unexpressed, measurably silent.

I grow daffodils now, try to reimagine / night and pretend that doors are / simple.

Lisa Teasley’s first three books, Glow in the Dark, Dive, and Heat Signature came out in 2002, 2004, and 2006 respectively.

We were on the roof of Nikita’s house, drinking beers. This is in the Central Valley. The roof was black and, so, hot. It wasn’t summer yet, but almost.

i know you’re thinking of me: it’s just about to rain.

Jami Nakamura Lin is a Chicago-based writer whose work has appeared in the New York Times, Electric Literature, and Bat City Review, but you might know…

Fady Joudah’s newest poetry collection […] (Milkweed Editions, March 2024), written during the bombardment of Gaza from October to December 2023, marks the loss of language during an ongoing genocide.

The Devil knew exactly where to go. There were plenty of places in the world where the sun slanted long across plaza stones and shone like diamonds in the spray of fountains.

When I get to heaven I will be bruised / and I will not answer any of God’s questions.

Through the logic and lens of horror films, Reed examines the market demands of poetry (yes, these do exist), academic life, and the anxieties produced by the COVID-19 pandemic and rising fascism.

Beauty also is unaccounted for. / The mist is merely what it is: water

And yet: my work is labor the way love is labor, is liability, is constant risk assessment.

“atmospheric river” they say, as if we are children, / as if air was water, as if all was just one phase change away

before their war, the Aqlla served / overflowing quinoa milk / to unworthy undeserving grins

Farah Ali’s novel, The River, The Town (Dzanc Books, 2023), set in an unnamed municipality in the south of Pakistan, reads like an eerie fictional mirror to an Amnesty International report released the same year.

I’m writing a book about fires. Metaphorical and literal. About the way human relationships spontaneously combust. How a self crashes and burns.

My father said there were no other / words like the compound words / in the Armenian language.

Lobsang kept saying that crossing fates with me would get him killed. When we first got on the road, an old woman at the foot of the mountain had been…

I met Christine during a balmy summer at the Winter Tangerine workshops in New York.

As a Californian, Daniel Gumbiner has thought a lot about the aftermath of disaster. What happens long after the emergency workers and news cameras have gone home?

I grew up immune to the ordinary, surrounded by a past / I was expected to sit on and memorize

I have known Joshua Burton since 2014 when we attended the Boldface Workshop at the University of Houston.

Site is a four-part series of visual poems/essays/works. Each work reproduces the Trinity Test site in New Mexico—the location of the first atomic blast the world has known—at specific moments in time after the detonation.

an exercise in mining the worst possibilities from the ridges / of the brain absent of stalagmitic reach

Monica Youn is one of the most brilliant people you will ever meet. This seems to be a shared consensus among the people I know who have also met her.

Our sons told us to place the steel cleavers we used to butcher hogs and chickens beneath our pillows, in case our enemies appeared.

The agent does not call an ambulance. / The agent does not wake the sleeping mother. // The agent does not file a report. The agent’s code reads: / No report is required unless a domestic threat is identified.

This review of zürich moves! 2019, an annual festival for contemporary arts practice in performing arts, was a runner-up in the 2019 Toni Beauchamp Prize for Critical Art Writing, judged by Jessica Lynne.

Hang it all Yankev Glatshteyn! / There can be but the one Fairfax / but Fairfax and my Fairfax— / Impulsn fun gedank / blitskike un rashik...