hunger
By Poetry Issue 111
I set you children a lesson, Mary says. Our unknown is I am.
Read MoreAparture
By Essay Issue 111
In ballet class they were always chiding us to not allow the difficulty of the act to be expressed in the hands… We girls were being taught the art of concealing art, ars est celare artem, the method wherein obfuscation becomes a weft to gird the warp of technique.
Read MoreSilence Pares My Lips
By Poetry Issue 111
I mourn again my wrong belief / that evil can ignite the arrival of good
Read MoreMummy Wheat
By Poetry Issue 111
When it comes to commemoration, / the great advantage of sculpture/ is how it tends to outlast / not only what happened / but everything surrounding it, / suggesting a context / is that which rots away.
Read MoreCurator’s Corner
By Visual Art Issue 111
I have often said that contemporaneity—much like modernity and creativity—does not belong to one race, place, or economy.
Read MorePortraiture and Personhood: Hubbard and Birchler’s Flora
By Visual Art Issue 111
The soundtrack alternates between David speaking about his mother’s life and his memories of her, and a voiceover narration in which Flora recalls her life in Paris. However, a viewer can only watch one side of the screen at a time—either Flora’s or David’s.
Read MoreAfter Reading Song of Songs I Take Out the Garbage
By Poetry Issue 111
The syllables of my beloved are sweeter / than the cherry yogurt that once brimmed / these cups, her clavicle sturdier than corncobs, / her skin fairer than papery onion skins.
Read MoreSelf-Portrait as Sarai
By Poetry Issue 111
Three hours, midday: state minimum. / Three hours, midday: the god and her child deep in the forest.
Read MoreMy Desert Saints
By Essay Issue 111
It is said that a certain woman went to visit her sister. Before she knocked, she peeked through the curtain and witnessed something she had never seen.
Read MoreI Have Lost Faith
By Poetry Issue 111
I like to be a little cold what / / I mean is I need to feel just / uncomfortable enough to know I’m still / alive
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