An excerpt of “Geographical Histories of Centralia, Kansas,” written and read by Jodi Cressman.The full piece appears in our Summer 2026 issue. Tell us about your relationship to writing. For most of my professional life, I was an academic writer composing scholarly essays for a narrow audience of contemporary literature subspecialists. Then, . . .
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Photo credit: Sarah Deragon Note: This is an edited transcription of an interview conducted over Zoom. The full interview, featuring more in-depth answers and back-and-forths, is available below. Gunawan reads the poem “Go Back Home” from 14:45–16:25. Tell us about your relationship to translation. My God, where do I start? I feel like . . .
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Tell us about your relationship to writing.I started keeping a journal in my early twenties as a way of organizing my thoughts. Before that I didn’t write much and I never considered myself a very literary person. When I was 27, I took a poetry workshop at City College of San Francisco . . .
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Photo credit: Eloi Scarva Note: This is an edited transcription of an interview conducted over Zoom. The full interview, featuring more in-depth answers and back-and-forths, is available below. Gómez reads his poem “Fillers” from 11:06–13:17. Tell us about your relationship to writing, especially poetry. It was a very, very long shot for me . . .
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“Who needs it? Eyes rolled back, hand planted thickin lemon cake. Sure. Let’s call it lemoncake. She hives and dissolves, an unearthing…” —from Shira Erlichman’s “Nude IV” (Volume 67, issue 1) What’s been inspiring you recently? The On the Calculation of Volume series by Solvej Balle. Reading the first novel was a . . .
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Note: This is an edited transcription of a longer interview, which is available in full here (music by Nicolaas Stulting): Tell us about your relationship to translation, especially between Russian + English. I’ve always been a massive reader and lover of language and words. And once I had even the smallest foothold . . .
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Editor’s note: Upon being invited to participate in our interview series, Morteza Dehghani, translator of Souri Ahmadlou’s poems “2.” and “3.” from Volume 67.1, offered to write the following experimental piece “about the art of translation,” centralized around the questions of what attracts him to a piece, why he translates, and what . . .
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“When we got hungry, it seemed very rude to discuss what kind of food we wanted. It seemed like the height of impoliteness. Wherever we went, there would be food. And the important thing there was the people.” —from Siamak Vossoughi’s “Three Tryers” (Volume 67, issue 1) Tell us about your relationship . . .
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(after Yusef Komunyakaa)A broken machine gunhangs as a wind chime,rat-a-tat-tat, hugginga willow climbed by a toddlerwho keeps singingabout craterswith American eyesthat overflow. —from “Toys in a Field” (Volume 66, issue 1) Tell us about one of the first pieces you wrote.The first I remember, I was likely about six years old. They . . .
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This county town’s famine is faraway, and mooring here is so miserable. Themountains advance from the south, the Yangtze’s gurgle carries up northward. —from 峡江县 (XIAJIANG COUNTY) and 黄金洲 (GOLDEN ISLAND), poems by Zhang Xun, translated by Bijaan Noormohamed (Volume 65, issue 3) Tell us about one of the first pieces you . . .
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