Issue 35

Phillip Mandel & Michaela Hansen

You should never be writing for someone; only write for yourself.

Gabriela Denise Frank

Sometimes, I question if I had legs before I met Anthony.

Remi Recchia

kiss to light up your father’s study

A Review of Andrés Neuman’s How to Travel Without Seeing

So, what then, is the point of traveling, if where we visit is not much different from where we left?

An Interview with Tomás Morín

I’m a narrative poet with lyric inclinations so it’s no surprise my poems contain stories.

Jessica Smith

There is a repetition compulsion threaded through the hard work of grieving.

Amie Whittemore

under the Milky Way’s white skirt

Ashley Morrow Hermsmeier

I know it’s Me even though I don’t recognize Myself

A Review of Eric Shonkwiler’s 8th Street Power & Light

By evening the clouds had thinned, and it was cold

Deborah Allbritain

everything in this moment
bewilders, hesitates.

Jill Jepson

My father was a sailor who went to sea and stayed there.

A Review of Boualem Sansal’s 2084: The End of the World

It’s a somber but beautiful opening that functions as a kind of promise.

Jefferson Navicky

Beautiful divots encased in concrete like a necklace of loss.

Robin Cedar

I knew

Devon Balwit

cautiously pressing to keep

Jeremy Griffin

Every last one of them had a cigarette smoldering between their fingers.

An Interview with Tim Hernandez

I think that’s one of the most basic and powerful functions of good art, it invites people to make their own meaning.

A Review of Sun Yung Shin’s Unbearable Splendor

Shin’s ability to shift directions and perspectives quickly, to zoom in and out to the micro and macro, is hypnotizing.

Eve Kenneally

crush. Pitchforked in a salt-worn dream anchor. This space:

From the Vault: Phillip Mandel Reviews Pagan Kennedy’s The Exes (1998)

But the drama of drink-and-drug addled artists smashing together for a few years of their lives is timeless.

Steven Ramirez

I ever tell you the one about the vato who left the desert to go buy sand?

Andrew Hincapie Talks With Stephen Dunn

It’s no surprise that some poems are difficult, but difficulty is often overrated.