Photo by Hossein Zohrevand.“Attack on Gandhi Hospital,” (#15) courtesy of Wikimedia Commons. What is unfolding across West Asia is a colonial project that, if allowed to continue, will ultimately pave the way for a Greater Israel and end any prospects for Palestinian freedom. In October 2003, the recently assassinated Ali Khamenei declared . . .
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“The Sahara,” articulates Maysa Abou-Youssef Hayward in her study of the desert in Arabic verse, “represents a location marked by fear, loss, exile, and emptiness, the result of destruction.” In Desert Imaginations: A History of Saharanism and Its Radical Consequences (University of California Press, 2025) Brahim El Guabli argues that this idea . . .
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David Lloyd (65.2) published his fourth poetry collection, The Last Season, with Tiger Bark Press at the end of last year. Jane Zwart (60.4; 64.2)’s debut poetry collection Oddest & Oldest & Saddest & Best from Orison Books came out in early February. Mitchell Jacobs (60.3; 65.2)’s debut poetry collection Rogue Astronaut . . .
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Editor’s note: Carl “Taqwaa” Moore, author of “Thank You, Whoever You Are” from our Winter Special issue, is a writer who is currently incarcerated. The carceral communication systems make conducting a more formal interview nearly impossible. After several weeks of correspondence, we were able to achieve both written and phone interviews. Below . . .
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A review of Uncanny Valley Girls: Essays on Horror, Survival, and Love (Harper Perennial 2025) by Zefyr Lisowski and Scream with Me: Horror Films and the Rise of American Feminism (1968-1980) (Atria 2025) by Eleanor Johnson. I used to think I didn’t like horror films, but then, thirteen years ago, I met . . .
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Amna (left) and Alaa (right). Note: This is the second of two Public Affairs posts by twin sisters in Gaza, Alaa and Amna Dmeida. The first, by Amna Dmeida, Gaza in the New Year: Countdown to Death, Not Celebration, was published on February 13th. Today we bring you Alaa Dmeida’s powerful memories . . .
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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 . . .
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Rubble in Gaza, taken by Farah Rebhy. Our next two public affairs posts, for today and on February 27th, are written by twin sisters in Gaza, Amna and Alaa Dmeida. As Israel’s ongoing genocide continues to sever Palestinian kinship with unfathomable cruelty, Palestinian writers continue to share their stories with heartbreaking courage. . . .
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 . . .
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