A kind of reading that doesn’t just describe what happened in a story, but actually performs it. The only way to read the story is to play it, and the only way to play the story is to do it, to completely embody it.

Awe is a kind of surprise that resists pity or cynicism. It is not relative or subjective. It’s an active and dynamic process that cannot be separated from its twin concept, wonder.

I am taken by the unique vibration his work strikes deep in my organs, how different these internal resonances are from how DeLillo is regularly discussed in the contemporary landscape—how his work makes me feel, to be blunt about it.

I suspect that everything I do or say after 11 pm is lunatic. Panic about it at 5 am. In real life a police officer shoots a man twenty times in his own backyard. Is there someplace else to stand? No. (Shaved pubes.)

Since a certain amount of funding is potentially coming from grants, donors, and (hopefully) the press’s Board of Directors, there are more variables to consider.

I cry a little, too, because it all feels so cliché. That I should look at my mother and realize she’ll die one day. That she should notice my tears becoming heavenly–sorry, heavy–and approach me, open-armed.

Because the place we’re standing now matters so much less than the ingenious and idiotic ways we managed to get there.

The pieces in this series find ways to speak into and around awe—often figured as speechlessness, to be dumbfounded—and how its overwhelming facts can run through our lives.

We have to do so much for you, don’t you see? You play all day while we work so hard.

It can’t all be true, or as bad as they make it. But there’s no plumb, exactly, for these things.

Watch Your Language shadows So to Speak, offering what the poems can’t—not explanations of the origins of lyric impulse, but a recreation of the process involved in coaxing it.

The idea that this cultural moment is specific to an era of progressivism, neoliberalism, or late capitalism (a term which always feels a little baselessly optimistic), does not seem accurate. Regular capitalism describes the moment pretty well.

When you grow up alongside a writer and see them change and rearrange and deliver a new object still dripping sweat, that object looks different than if you were merely recovering it from the long march of literature by the no-longer living.

The text is interactive, necessitating the intervention of the reader for categorization of its entropic structures. Genre inflects, demands, and manages expectations anew: it’s a goddamned virus.

Darras’ poetry may long for the alleged poetic horizon from which waves—and, indeed, shades—emanate but, in its subtle (if finless) wisdom, remains coastal, content to let lyric fall tame upon the sand.

At this year’s end, we present its distillation or digital imprint: every wavy line from our homepage arranged in chronological order, a kind of cento, list, monument, calendar.

The new issue is hot off the presses. It smells ripe, it wears leather, and it will get angry if you walk behind it.

Both women were prone to tragedy, exceptionally talented prose stylists, and flagrant pessimists, and their co-written cookbook provides a welcome glimpse into the charmingly caustic conversational style that made them social centerpieces of their era.

The American chestnut gave me a chance to see something that actually was more or less gone from the natural world, to reach back into the distant past and get a sense of what climate destruction might rob from us again and again.

The future novel resides with the fans. It will not be written from above or outside. Literature belongs to the davenport.