"I like to create moments in which the monstrosity of my characters breaks through and despoils the immaculate, artificial surfaces they try so furiously to maintain."
Daniel Lefferts, in conversation with Joe Prendergast, now up on the website. Link in bio.
Image by John Brooks
"confessing how Id give all this away | for two thorn hearts that fly in time".
- from a set of five poems by Dom Hale now up on the website.
Link in bio.
"To relate to Kngwarray’s art, it is necessary for the viewer to understand the sorts of replications, reiterations, and resubstantiations of the Dreamings she undertakes in the landscape around her [...]"
New work by Alex Chand @an_octopus_of_ice now up on the website. Link in bio.
Image: detail from "Body Markings (Sorry Cuts)" by Emily Kam Kngwarray.
"My knees feel briefly uncertain, | as if standing on ice | that may remember it is water."
From one of two new poems by Elena Rotzokou, now up on the website. Link in bio!
“In holding This Poor Book, we feel Howe testing once more what language can bear when it is pressed against anguish, faith, childhood memory, political violence, exile, and that most ungovernable force — love.
[…]
The poems burn quietly, like embers that refuse spectacle. They ask what language can carry when nearly everything has been stripped away.
Time, she reminds us, is intimate. Then it is finished.”
Misha Honcharenko reviews Fanny Howe’s final collection of writings, This Poor Book.
'Fatal words. Cruel destiny. Why, oh why did she ask the boy to accompany her to her chambers? Did she not know that the male sex causes naught but havoc and should best be kept in cages?'
From "At Dawn", a new short story by Phyllis Konieczko
Had the entirety of Woolf Works kept this creative distance from its source, I might have come away from the performance with a sense that Woolf had been granted some kind of poetic justice. Yet in edging closer and closer to its point of reference as it went on, the piece ends up ironically silencing the very thing it seeks to both celebrate and animate.
- @lolaagabb reviews Woolf Works and thinks about adaption more generally. Now up on the website.
“It was always just || An affectation, you say, portending something while delivering | The lowest feasible return”
Three new poems from William Kherbek up on the website. Link in bio.
“This is what I say when, really, I want to hold you | like a vigil, in which nobody actually touches”
Four wonderful new poems from @jacobburgessrollo now up on the website. Link in bio.
"COOP has a physical effect on you. Youʼre made aware of the power phones have on you, how theyʼve changed how we read. The author recreates this experience on the page, in an embodied way: the split attention; those momentary, serotonin-inducing flashes of light; trying but not being able to separate online and IRL time; checking your phone every time you reach a chapter."
-- @broomehenry on Nida Sajid's new "novelette", COOP (2025). Now up on the website. Link in bio.
"the rusty return | of a love divine."
-- from one of three new poems by Olivia Calderón (two concerning Botticelli) now up on the website. Link in bio.
“History, cack-limbed yet cunning, whistled past the scene of disaster | refusing to change, the disastrous crash of reeking coins, | moving through the placid young novices with birdsong | clawing in their mild throats, hosannas for their pierced master”
New poetry from @karlohanlon12 , now up on the website. Link in bio.
!["To relate to Kngwarray’s art, it is necessary for the viewer to understand the sorts of replications, reiterations, and resubstantiations of the Dreamings she undertakes in the landscape around her [...]"New work by Alex Chand @an_octopus_of_ice now up on the website. Link in bio.Image: detail from "Body Markings (Sorry Cuts)" by Emily Kam Kngwarray.](https://sp1.picnob.com/p/pt_6739162654135249521758_0_d570fc1b606240d4eb00552f953feb08.jpg?o=aHR0cHM6Ly9zY29udGVudC1pYWQ2LTEuY2RuaW5zdGFncmFtLmNvbS92L3Q1MS44Mjc4Ny0xNS82NzExNzYxODhfMTg1MjgxMjA4MDUwNzcyNTJfNzQ1NjU4MjIyMDEzNTM3MzQ0NV9uLmpwZz9zdHA9ZHN0LWpwZ19lMTVfdHQ2Jl9uY19odD1zY29udGVudC1pYWQ2LTEuY2RuaW5zdGFncmFtLmNvbSZfbmNfY2F0PTEwMCZfbmNfb2M9UTZjWjJnSFNKVDJSa2VVbXVhSUFOaTgxVTUzbkk5Z1Q5X1M5Q3JyYjUyUXNhZklZU0MwWlBfR0xOSVIxeGU3dUM5UW15S3JjQmdlbURQRXdsMGItXzBKVTFYZWwmX25jX29oYz1feXl2ZnJkenNqQVE3a052d0dlODM0eCZfbmNfZ2lkPTBCeE1IR1c2UnNvc2VIZ1NiMi0zeHcmZWRtPUFQVTg5RkFCQUFBQSZjY2I9Ny01Jm9oPTAwX0FmN3BUYklSdDQyTzJLbFFSM2JFTUVqVjNUdnV6Q3VUM1V1WE55eGZvT2Q3UXcmb2U9NkExMDMyRDkmX25jX3NpZD1iYzBjMmM=&h=4a234ed7f738c438da6030d1252d5b92)
![“In holding This Poor Book, we feel Howe testing once more what language can bear when it is pressed against anguish, faith, childhood memory, political violence, exile, and that most ungovernable force — love.[…]The poems burn quietly, like embers that refuse spectacle. They ask what language can carry when nearly everything has been stripped away.Time, she reminds us, is intimate. Then it is finished.”Misha Honcharenko reviews Fanny Howe’s final collection of writings, This Poor Book.](https://sp1.picnob.com/p/pt_6747725864132367526840_0_77f2fe1690c13b56ca0a1531fcd5d99e.jpg?o=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&h=04f7386ca423a45ba3f15ef0350c2b9c)
