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Volume 59, Issue 3

Front Cover by Ward Schumaker, Hate Is What We Need, 2017. METHYLCELLULOSE AND ACRYLIC PIGMENT. Courtesy of the artist.

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"POST-APOCALYPTIC FICTION has been moved to our Current Affairs section.” Written on a chalkboard outside the Bookloft bookstore in Great Barrington, Massachusetts, on Wednesday morning just after the last U. S. presidential election, Zazu Galdos-Schapiro’s witticism was instant meme material. Like all good jokes, her line flashed electric between id and insight, a short-circuit buzz that made us chuckle. A couple of years later, we’re no longer laughing, yet the challenge remains: if speculative fiction has indeed sublimated into document, critique, and analysis, well then, it’s high time to take it seriously. Peer publications like the Boston Review, with their “Global Dystopias” issue, have already begun such work; in these pages, the prose we publish offers a panoply of spec fic, mostly mixed blends of fantasy and sci-fi. Lit mags have a reputation for snobbery when it comes to genre, we know, but the best have always been interested in...

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by Gabriella Kurvilla, translated by Victoria Offredi Poletto and Giovanna Bellesia Contuzzi

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“We are the heirs of a legacy of creative protest [...] the teachings of Thoreau are alive today, indeed, they are more alive today than ever before.”

—REV. MARTIN LUTHER KING, JR. (MR 4.1, Autumn 1962)

From the Blog

10 Questions

10 Questions for Ruvanee Pietersz Vilhauer

- By

"When the package arrived on Monday morning by overnight FedEx, a disturbance ensued. Mr. Rodrigo made an agitated phone call in his glassed-in sanctum, looking in turns horrified, elated, and apprehensive."
—from "Mr. Rodrigo's Identification Company", Spring 2018 (Vol. 59, Issue 1)


Tell us about one of the first pieces you wrote.
I have a vague recollection of a poem I wrote, back in Sri Lanka, when I was about ten. It must have been inspired by Robert Frost’s "Stopping by Woods on a Snowy Evening". I don’t recall having Frost’s poems at home, so maybe I discovered them in a book in the Colombo library or at...

10 Questions

10 Questions for Juan Meneses

- By Abby MacGregor

Like vegetation that finds
shelter in so many territories
I swell around the house
surge from your insides when
you feel death coming
—from “That Which Is Only Visible When the Wind Brings It”, Fall 2018 (Vol. 59, Issue 3)

Tell us about one of the first pieces you translated.
Some years back I co-translated a short story by Spanish author Jesús Fernández Santos titled “Although I Don’t Know Your Name” (“Aunque no sé tu nombre”), which appeared in The Coffin Factory. One of the most interesting parts was the conversations I had with my co-translator—the negotiations, the choices, the concessions that each party made the other. They focused on the meaning of words...

10 Questions

10 Questions for Allison Hutchcraft

- By Abby MacGregor

Say it.
To smooth a section of one’s hair
as if in an unsurfaced
—from “In the Other Window”, Fall 2018 (Vol. 59, Issue 3)

Tell us about one of the first pieces you translated.
With my co-translator Juan Meneses, I first translated “Two Poems about Poverty,” from Concha García’s 2008 collection, Acontecimiento...

The Next Best Thing

The No Nobel

- By Michael Thurston

For many of us with literary interests, the end of October’s first week coincides not only with the beginning of baseball playoffs but also with the announcement of the Nobel Prize for Literature. The weeks preceding the announcement see statements of preference and prediction, and the oddsmakers at Ladbroke’s even handicap the prize. Cognoscenti gather (really) to compare notes: Atwood’s up over last year, Murakami’s looking good, and Adonis’s stock seems to have dropped for some reason. Once the winner has been named, the fun takes a different form, with arguments over the writer’s quality (“Jelinek? Really?”) or qualification (“Dylan?!”), or the pleasure of discovering the work of someone you’d not heard of (Mo Yan,...

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