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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Cortney Lamar Charleston (65.3)’s new collection, It’s Important I Remember, is out now from Northwestern University Press. Matthew E. Henry (62.2)’s latest collection, promises to keep, is out from Wayfarer Books. Winner of the 2019 Anne Halley poetry prize, Amit Majmudar (59.4) has a new collection of poems from Knopf: Things My . . .
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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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Photos of Muzan Alneel, photographed and shared by her husband Ahmed Mahmoud. Wednesday April 15, 2026, the third anniversary of the outbreak of Sudan’s counterrevolutionary war, was also marked by news of the death of Sudanese engineer, activist, intellectual, and visionary Muzan Abuobaida Alneel. Born in Omdurman, Sudan in 1986, Muzan was . . .
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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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Since 2014, Ramadan in Gaza has repeatedly arrived under the shadow of war. From Israel’s attack in 2014, to the escalation in 2021, and the ongoing genocide that has cast its shadow over the holy months of 2024, 2025, and 2026, for more than a quarter of the past decade the sacred . . .
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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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