Two middle-aged men before an ancient mapLook for where they are The bronze birds are now rottenCloser to Giacometti—from “In the Exhibition Hall” by Ye Hui, Translated from Chinese by Dong Li (Volume 66, Issue 2) Tell us about one of the first pieces you translated.The first full-length book that I have . . .
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Greer (R) with her father (L). Tell us about your relationship to writing: how it began, where it’s headed, etc. How has incarceration influenced it?I began writing as a way to get out of, and navigate, punishment as a child. I would write poems and stories for my mother in the hopes . . .
Read MoreJakyra Green, author of the poem “Dear Brother” from Volume 66, issue 4, chose to read and briefly discuss Carl Brandon Moore (who goes by Taqwaa)‘s poem, “Thank You, Whoever You Are,” as part of our new interview series. Upon hearing about this, Taqwaa was overjoyed to read and discuss Green’s poem . . .
Read MoreAs part of our new interview series, Benjamin Frandsen has written the following creative nonfiction piece on the craft of his published essay, “Some Mother’s Darling” (Volume 66, issue 4). Nonfiction can accurately depict a world surrounding you with lies. Fiction may be skillfully woven together with unbreakable strands of truth. But . . .
Read MoreFrom our Winter 2025 Special Issue, Mae Ellen-Marie Wissert reads her poem “one night outlaw”: Originally from Idaho, Mae Ellen-Marie Wissert is currently an MFA student of poetry at the University of Mississippi. Her poetry is published in West Trade Review and is forthcoming in North American Review. She can be contacted through her email, mewisser@go.olemiss.edu.
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Editor’s note: Going forward, our author interviews will be moving away from the 10 Questions series and instead will take different forms depending on the author’s wishes. We’re hoping this provides a more diverse and specific reading experience, and also makes room for author-led creative projects and discussions down the line! “My . . .
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66. IT SHOULD be noted that, to date, there is no physical evidencethat Anna Kavan had cats. Her surviving letters, diaries, notebooks, marginalia, memorabilia,and photographs contain no signs of felines. Nevertheless, a substantialbody of Kavan scholarship has formed around the question of Kavan’scats.—from Steven R. Kraaijeveld’s “Anna Kavan’s Cats” (Volume 66, issue . . .
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What I mean is, there are waysback in when your brain has checked you out:singing badly, for example. Making uglinessa god of sorts. Knowing yourself as a person thatcan be unwillingly . . .
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Not just one death,one victim tells another:they killed me by the roadside. —from Ibrahim Fawzy’s translation of Maya Abu Al-Hayyat’s “Not Just One Death” (Volume 65, issue 4) What role does language play in resisting colonialism and precipitating liberation? How does your piece engage with this question?Language is not merely a medium . . .
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A light split the room where Rubén Darío was trying to write. On that side, a copy of Don Quixote; on this side, the untrimmed sheets of paper with words crossed out and the unread letter from a young poet in search of guidance and assistance. —from Mark Schafer’s translation of David . . .
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