“The only possibility of regaining one’s balance is to face the whole problem, for all these discoveries, all these inquiries lead only in one direction: to make man admit that he is nothing, absolutely nothing—and that he must put an end to the narcissism on which he relies in order to imagine . . .
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Tell us about your relationship to writing: How it began, and where it’s headed. I’m going to be very literal about this because this is a big question. For me writing started in kindergarten. We had a great teacher—we called her “Lupita”—who taught us how to read and write with the poetry . . .
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Editor’s note: The text here is an edited transcription of a larger conversation conducted over Zoom, which appears in full below. Melpignano reads her translations of Leonardo Tonini’s poems “6.” from [25:52 – 26:27] and “12.” from [28:16 – 28:40]. Music credit to Nicholaas Stulting, “Everyday.” Introduce yourself, your relationship to writing . . .
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Congratulations to Amanda Sarasien and Elton Uliana, winners of our annual Chametzky Prize for their translation of José Luís Peixoto’s “The Woman Who Dreamed”! This story appeared in our Summer 2025 issue, and was also nominated for a Pushcart Prize. You can read their joint 10 Questions interview from last year here. . . .
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Who have been the most influential writers in your life? The most influential stories/collections? What’s been inspiring you lately?Lately, I have been running more consistently. This is really my cordoned off time, where all I have are my body, my thoughts, and no obligations to others. After graduate school when I began . . .
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Jennifer Sperry Steinorth (61.2, 65.2)’s book of poems Boys Behind Glass (featuring art by Jenny Walton) came out in March from Texas Review Press. Adam Scheffler (54.1)’s critical book on James Wright, So This Is What It Feels Like: Empathy in the Poetry of James Wright, came out in May from LSU . . .
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Crew, at “her tree” on the farm, after her dad’s death. I’m interested in how “Feast: Fruits of the Land” came to exist. How did you decide on the format (namely: the altered sonnet structure, and the beginnings of passages picking up the preceding last lines)? This piece is one “course” of . . .
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On Gaza’s beach, a young girl kneels beside a sand turtle she shaped with her hands and decorated with seashells. All photographs by Shams Mazen Rajab. Every day, thousands of children wake in tents instead of homes, stand in lines for water instead of classrooms. Play has become a rare luxury, and . . .
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Editor’s note: When invited to participate in our interview series, Mathew Magro-Fry (author of “The Missing Pieces” from our Summer 2026 issue) offered to write a creative nonfiction piece on the relationship between roadtrips and his writing process: Just off the freeway between Palm Springs and San Bernardino, a Brontosaurus and a . . .
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Review of Corinne Demas’s novel Daughters (Little A, New York, 2025) Yes, you can go home again, but you might revert to the same person you were when you first decided to leave. Corinne Demas’s novel Daughters is a compelling examination of a daughter’s long-held resentment and fear of disappointing a parent, . . .
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