PRETEND WE LIVE HERE, stories by Genevieve Hudson, reviewed by Ashlee Paxton-Turner

“College people like getting greens with soil still on the stems. It makes them feel real in a world made mostly of plastic and propane.” This is what the first narrator, a 13-year-old Alabaman girl with a rotten tooth, tells the reader in Genevieve Hudson’s debut collection of short stories, Pretend We Live Here. This type of humor and keen observation peppers the entire collection of fifteen stories.

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HALF-LIFE by Doug Ramspeck      

Guilt, it has always seemed to Roger, is visceral. It takes up residence inside the body, burrowing or maybe perching there, as much a part of you as your bones or blood or lungs. You sense it waiting even when no one else can see it, even when you stop obsessing and the days and nights slip past on their conveyor belts.


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TERMS AND CONDITIONS by Heather Holmes one month I am in philadelphia reading the Andrew Durbin book that describes this club The Spectrum, and the next month I am at The Spectrum watching women flog one another in an affectless way. that’s sort of how it is in new york, I guess, I say to someone later, ha ha, to read something is to conjure it. this is no safeguard against emptiness I wonder at length whether writing always has to stake out a new and special way of seeing. I just wanted to talk about how bored they looked even as the leather began to break skin . I plant the hyssop. I wait it out. I think about how far we are into this century and still I know three women named Geraldine, which G. #2 described to me as a man’s name suffixed diminutively. all three are … chop! chop! read more!


I realize I do not wish to fall to the bottom of a well. With no one
to hear my screams (and screams are all we hear). Light is a pinhole.

Dark days, kept on a catheter, a transfusion of blood, poured into beakers,
baked on a Bunsen – I purge the present from the protoplasm.

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PENCIL ME IN by Hannah Harlow

On a rainy morning in October my son erased me during craft time at the library. We made a wind chime out of old spoons and gray yarn and colored beads in green and purple and orange and a jar lid with pre-drilled holes. The pencils were there to sign up for mommy/baby yoga the following day. A new three-year-old, Milo no longer qualified for mommy/baby yoga, but he still helped himself to a pencil. Ignoring the pointy end, Milo scrubbed the eraser over the ring finger of my left hand until the finger disappeared. Using my other hand to help the mother next to me attach the final string to her and her daughter’s wind chime, I didn’t notice until it was too late.

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THE TOWER IN OUR CITY is always visible, no matter where we are, it doesn’t even matter what we’re looking at. Tapered at the tip, lifting up without lifting off like the gathering before the spurt, smooth on the surface—smooth and clear as an idea you don’t even need to think about because everyone has the same idea. It is never out of position, never in the wrong place, it’s about the most accurate thing there is. Not attached to anything—a tower isn’t a leash or a collar. Not showing off—the tower isn’t an ornament or a loose translation. When something happens we turn to the tower, we point to the tower as if this is the real reason, asking the tower what are we supposed to do? What is going to happen to us? What have you done to us? Rising straight up into the sky the tower doesn’t waver or swing like a pendulum, never moves to one side or the other, as if it has an idea, or bends at the waist as if it has a different idea, or leans toward us in sympathy—it’s the kind of stability we are attached to and depend on and are also tired of at the same time.

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BARCELONA ON A SATURDAY by Nicole Baute     

Over dinner the Brazilian painter says she doesn’t believe in time, or maybe she says she’s skeptical about the measuring of time—I can’t be certain as we meet haltingly between languages. We are painters and photographers and musicians and one writer, me, in a crumbling Catalonian farmhouse at the foot of a mountain that looks like a pile of noses.

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TWO FLASH PIECES by Francine Witte

Mary counts the ships. Rodney has just broken her heart.

“You’re like the ocean,” he points to the blue water carpet. “You will ebb and flow, you’ll see.”

There are five ships. A mother duck ship and four little ducklets. Last night, the radio talked of an oil spill.

“I hope those are rescue ships.” she says, “for the poor oily birds.”

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DRAWING A BLANK by Emily Steinberg

A Visual Narrative
by Emily Steinberg

Pipe bombs to 14 in the mail.
11 Slaughtered at a Pittsburgh synagogue.
Kroger grocery, 2 dead.
Domestic terrorism.
Hounds of hell unleashed
But Beto might win over Cruz!
and Javanka are still in the White House.
Civil War 2.0?
Election on Tuesday.
I can’t look.
Holding my breath.
So we had a Blue Ripple.
100 women elected to congress!
Next day, insane post-election presser.
Acosta banned, press pass pulled.
Sessions forced to resign.
Whitaker in?
Who the hell is Whitaker?
Creeping authoritarianism.
Then, Thousand Oaks shooting.
Then, California burns.
And then, Florida recount.
Again? Seriously?
Then, more house wins!
Blue advance?
Then, in France, no-show at cemetery due to rain?
Veterans Day, no Arlington visit.
And Saudis get a pass?
Have you no decency, sir?
The state of the union is fragile.

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LEO RISING by Anna Dorn

LEO RISING by Anna Dorn The first thing I do when I wake up is open Evie’s Twitter. I’ve been doing this every morning since she left about a month ago. If one of my patients did this, I’d roll my eyes. But I can’t help it. Evie won’t answer my texts or calls. This is the only way I can hear her voice. @LeoRising has five new Tweets. (I always thought astrology was nonsense, but Evie treated it with a religious reverence. The rising sign, she told me, is our surface self, our outward appearance. And Leo is the best, she said, and apparently I am one too). I always look at her profile picture first. In it, she’s narrowing her eyes at the camera in a way that never fails to excite me. The look says: I’m smarter than you. It’s the precise face I fell in love … chop! chop! read more!

THREE POEMS by James Grinwis

This was his third story,
the one after the one about dinosaurs
turning to glue and the ship trapped in a raindrop
sputtering back to life.
The kindergarten teacher did not
understand, but the boy knew
how it had to be. Mouse machines. Ralph.

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The dissection, in simple terms, is a search. Imagine searching your house for a pair of socks. Now, imagine searching your specimen—for our purposes, the body—and this time, the body is your house, and its secret is a pair of socks, misplaced somewhere in the body for you to unearth.

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It’s twilight on the fifth floor of New York-Presbyterian Hospital and a weak light seeps from the underside of the plastic-lined blackout curtains. It is growing dark against his wishes, yet Jacob Silbergeld no longer has the voice to catch the attention of a passing nurse who could adjust the transitioning of light he has hated for most of his life. Twilight is when slippery things happen, when one can be led by the hand to unwanted places. Twilight is when buildings surge in the skyline and become otherworldly, a time when one loses control. Jacob had fought against its demons for years with distractions of all sorts: films, friends, or when all else failed, a good book and a single malt scotch, but he is no longer in control of his environment, and the coming of night frightens him. He brushes his left hand over the blanket in search of the call button.

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CYANOTYPE by Michelle Matthees

No one bothered
to tip me
back into my own image.

Now, I’ve got
one eye seeing
forever thru an extra

lens of margin,
the moon’s side inside
of the book’s binding.

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CHILDREN, CAUTION by Leslie Lindsay

I receive a text from a friend.

Since preschool, our girls have been kindred spirits. They are on the brink of young adulthood, buds pressing through tee-shirts, splotches of pink and red in a of constellation across their hairlines, limbs long and gangly.

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PAX ROMANA by Christopher Blackman

For a time I felt harmonious and whole,
if you know what I mean. Ringing bells alone

could make a Christmas and when I climbed
the red rungs of the fire tower to survey the tree line

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the juvenile connection by Kathleen Hellen

perched on spindles of the branching spring
the wren with conspicuous brow, the buff sparrow with its
white appetite, ravishing the seed, the tweet-tweet-tweet of hunger

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SEAN’S ROOM by Blake London

SEAN’S ROOM by Blake London Steam from the shower moves in columns to the ceiling. I’m holding Sean’s hand, and his eyes close with the bathroom door—we twine and twist into sheets of flesh. Sean said the comedown is the hardest, but I’m still electric, can hear a crooning in the static of my fingers on his spine. It’s a slow dance with small movements, and the glow in my bloodstream says sway, so we make the steam vibrate in the small space. My fingers smooth water from the divots of his waist. The lazy warmth of him runs down my legs, floods the pale stucco floor. His curves, his hardness, his breath on my neck all feel ancient and half-remembered, and here I am, touching him for the first time again. We let the water run down the drain, dry off with a shared towel, and crawl under the … chop! chop! read more!

STONEHENGE by Erik Fuhrer

The apocalypse goes to Stonehenge during the summer solstice
and sings Joni Mitchell’s Blue while tripping on shrooms

The apocalypse is a teenager
The apocalypse is three billion years old
The apocalypse blows perfect smoke rings with its chipped lips

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Instead of getting on the highway, Jake starts to drive deep into the woods, past the Savage Funeral Home and out 147, past Iona’s Country Bar. I can tell by now that this so-called spontaneous road-trip has been meticulously planned. I think, Iona’s in there, so is Lucky, so is Fran. I give a quick squeeze to my red rubber stress-ball. Jake’s got his box-cutter handy, for just in case we get into an accident and need it to free ourselves from our seatbelts.

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The ridiculous dissatisfaction with good fortune
begins in shade, when every bit of luck pops up
like a harlequin jammed in a jack-in-the-box,
and the hue of the lip is wrong wrong wrong—
ignoring for the moment the creepy leer of clowns,
or the gut twist borne of a springed lurch, or
the clatter of the trap click and clack when it opens—
and though the arms of the clown spill forth

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TALENT AND LUCK by Yaki Margulies

Every night, after a long day spent creating the universe, God removes his talents from inside His chest, like a handful of featherless baby birds, glossy with blood, and lays them on the bedside nightstand before turning out the light. “He’s a genius,” everyone says. “What He’s done with the universe, it’s just great. Can’t wait to see what His next project will be.”

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My not-yet-stepdaughter sprawled on the couch, laptop open. Annabella was 12, her long hair parted straight down the middle. That evening I stayed with her for the first time while her father went to a work event. It seemed more normal than I’d imagined, just another evening at home. I read a magazine while she did homework.

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ORIGIN STORY by David Marchino

He’s a grotesque in primary colors, as much David Cronenberg as Clark Kent. The cartoons and the movies and the coloring books—they usually forget that. The idea of Spider-Man is, at its core, revolting. When it is time to suit up, Superman bears his classically handsome mug. Batman, Captain America, and Green Lantern, at the very least, leave their chiseled jaws exposed. With Spider-Man, everything hides beneath his spandex. Should you be saved by him—hung up in his gangly, yet muscular arms as he swings you off to safety—you’d look into the face of your hero, and there’d be no reassuring grin or playful wink, but, instead, two pupil-less eyelets, teardrop-shaped and alien, staring hugely as if frozen in shock. It would take all you could muster not to scream.

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Buddy is a good friend but will be an even better Marine. He is open to following directions. He will die face down in Pleiku, far away from his dreams, alone. But today, Buddy is twelve and entitled to his share of dreams. After all, most nightmares are reserved for adults.  Buddy’s stepdad had a job for us.


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DINNER by Naomi Xu Elegant

He was standing outside the double doors of the restaurant, sweating underneath his blazer. He was exactly on time. He saw a girl walking towards him, a close approximation of the one whose picture he had on his phone. He waved to her. She didn’t wave back.


She waved back. Amelia. She was wearing a puff-sleeved pink fur coat, cropped at the waist. He could tell by the sheen of it—his ex-wife had been fond of mink—that it was faux. She trotted up to him and kissed his cheeks in quick succession without having to tiptoe.

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you can’t hold your man                  you can’t

hit a jet going six hundred miles per hour

with a .50 calibre machine gun

the second week in June

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HUMAN HYDROPONICS by Isabel Theodore

A girl at a house show expresses surprise and delight that I was from the Philippines. Her academic concentration is in environmental studies. She talks to me about conservation pursuits for American students, on the rivers and shorelines. I say, ha ha, yeah, we could use the help. Too glib: she thinks I mean it, or she just thinks I’m mean. Two years from that moment I write tongue-in-cheek poems about my mother, who waded in those rivers simply to scratch the red welts leeches left on her skin. How when she visits home now the tap water makes her stomach curdle.

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MARLOWE by Andrew Jason Jacono

Christmas morning two years ago. Cold and snowless. My father hauled a leather instrument case through the front door and set it at my feet. Next to its handle was a little gold plaque, its logo embossed in fine script. Martin & Co., Est. 1833. Up close, the case smelled like his car: a mixture of coffee, Red Bull, and sweat. I unfastened its buckles and pulled the top open. Inside was a new guitar. A particularly beautiful one, smaller than a dreadnought. Black, gourd-shaped mahogany body with ivory binding along its waist and edges. Cream-colored, vintage-style tuning pegs, pearlescent fret inlays.

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ICEBERGS by Leslie Pietrzyk

Like you’re supposed to hate winter, with its cold and mountains of snow and how slip-walking on ice is a bitch and all that shit. Honestly, I love it. Honestly, I’d move to Alaska or the Arctic Circle or the South Pole if anyone would let me. In another life, I’d beg to be a penguin. Or a polar bear, except they’re going extinct.

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THE FEMALES by Wolfgang Hilbig reviewed by Ryan K. Strader

The Females was my first encounter with the late writer Wolfgang Hilbig, who grew up in East Germany and was allowed to move to the West in the mid-80s. He died in 2007 and was buried in Berlin. Isabel Fargo Cole has been translating his work for twenty years now. She started working to gain Hilbig an English-speaking audience before his death, and The Females, from Two Lines Press, is her sixth Hilbig work.

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BITTER ORANGE, a novel by Claire Fuller, reviewed by Elizabeth Mosier

Part of the pleasure in following an author, as I have followed Claire Fuller from her first novel to her latest, Bitter Orange, is coming to recognize her voice, even without a title page. Our Endless Numbered Days and Swimming Lessons introduced me to Fuller’s eerie, ironically rendered English countryside of dark forests and haunted seaside villages, and to her characters held captive by lies. From novel to novel I’ve admired how she uses intelligent but naïve narrators to withhold information from the reader, sustaining unnerving suspense while signaling dissonance beneath the well-mannered surface. At this point, I’ll eagerly read anything she writes. And Bitter Orange is her best book yet.

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EVERYDAY MADNESS: On Grief, Anger, Loss, and Love, a memoir by Lisa Appignanesi, reviewed by Gabriel Chazan

Lisa Appignanesi’s latest book comes at a time in which most of us regularly feel beside ourselves in what she describes as an “everyday madness.” She devotes herself to describing this mundane madness, something which could be called trauma but is experienced by almost everyone, in three manifestations.

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IT’S CALLED A DIRTY WORD: How a Contract Gig Changed the Course of My Book, a craft essay by Steph Auteri

The first piece I ever published was a personal essay on workplace sexual harassment. The title alone— “Sexy or Sexual Harassment?”—made my intent clear. I was using my writing as a means of interrogating my own experiences. Of working out for myself what these experiences meant.

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ASK JUNE: The Undercover Girlfriend and the Campaign Quandary

I’m a recent college graduate with mad STEM skills. I just started my first full-time job last June. My question is: should I quit it to go work on a political campaign until the election? I feel strongly about the candidate and even more strongly about the fate of the country. The job is unpaid, but my role will be important—and I think my skills could really help. Despite the fact that my parents are furious at the very thought of my quitting my job, the fact is that I am very employable, and could maybe even get my old job back, even though they are so pissed off at me they have refused to give me a leave of absence.

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A Conversation with Translator Marian Schwartz Interview by Ryan K. Strader

“If books don’t get published, they don’t live,” argues Marian Schwartz, the prolific and award-winning translator of over seventy Russian works. Thanks to Schwartz, significant 20th and 21st century Russian books have been brought to life, including work by Nina Berberova, Polina Dashkova, Mikhail Shishkin, and now Leonid Yuzefovich.


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SLEEPING DRAGONS, stories by Magela Baudoin, reviewed by Katharine Coldiron

Thank goodness Magela Baudoin’s first book to be translated in English, Sleeping Dragons, is so short. The fifteen stories in this collection (adding up to only 140 pages) are so precise, bursting with such potency, that to increase the collection to 200 or 250 pages would just about kill the average reader. Nearly all the stories are perfectly formed, energetic little spheres—like new tennis balls, popping with their own elasticity the moment they drop out of the canister—and only so many of these spheres can hit a reader between the eyes before she must stop, dazed. The overall impression is of a writer with years of craftsmanship already behind her, ready to don the halo of South American literary fame.

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PORTRAIT OF A BODY IN WRECKAGES, poems by Meghan McClure, reviewed by Claire Oleson

Excellent writing is often lauded for its ability to transport and disembody the reader, to enrapture so completely that its audience floats along the sentence and forgets their place in the room. Meghan McClure’s Portrait of a Body in Wreckages does not do this, instead, much of its excellence is found in its proficiency to embody the reader, to address them in their own physicality, and move along the level of the cell as well as the sentence.

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WHITE DANCING ELEPHANTS, stories by Chaya Bhuvaneswar, reviewed by K.C. Mead-Brewer

Chaya Bhuvaneswar is part of a unique legacy of writer-physicians—Nawal El Saadawi, William Carlos Williams, Anton Chekhov, to name a few—and the unexpected harmony of these pursuits is showcased throughout her collection White Dancing Elephants, winner of the 2017 Dzanc Short Story Collection Prize. Written with a straightforward, refreshingly uncluttered voice, these stories center on the urgent human desire to heal and be healed.

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A Conversation with Ada Limon author of THE CARRYING, interview by Grant Clauser

Ada Limón is the author of several poetry books, including the National Book Award finalist Bright Dead Things, which was named one of the Top Ten Poetry Books of the Year by the New York Times. This year Limón released her fifth book, The Carrying, to wide acclaim, including being named a Best Book of Fall 2018 by Buzzfeed. Since the release of The Carrying, Limón has been traveling extensively for poetry events but was able to take some time out for Cleaver to discuss the new book and aspects of craft in her poetry. She lives in Lexington Kentucky.

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AFTER THE WINTER, a novel by Guadalupe Nettel, translated by Rosalind Harvey, reviewed by Robert Sorrell

At the beginning of Guadalupe Nettel’s newly translated novel After the Winter, twenty-five-year-old Cecilia moves from her native Oaxaca to Paris. She arrives there without the usual image of Paris as a “city where dozens of couples of all ages kissed each other in parks and on the platforms of the métro, but of a rainy place where people read Cioran and La Rochefoucauld while, their lips pursed and preoccupied, they sipped coffee with no milk and no sugar.”

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THE BELL DINGS FOR ME: On Writing with a Typewriter, a craft essay by Toby Juffre Goode

I hoist the case up onto my desk and struggle to release the typewriter. I don’t remember my portable typewriter in college being this cumbersome. Plug it in, feed a sheet of paper through the roller thingy, and flip the switch. Oh yeah—I’d forgotten that motor sound. Do I remember how to use this thing? I consider the keys. My fingertips find home row. Like getting on a bike again. The next thing I know I’m typing. Energy flows into my fingers. I can still do this! Even though it’s been more than thirty years. Through the serial number, Barbara confirms that this typewriter was manufactured in 1964. I was only eight years old then, trying to pick up Dad’s bowling bag. Talk about a time machine.

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BOOT LANGUAGE, a memoir by Vanya Erickson, reviewed by Elizabeth Mosier

The paradox in writing a postmodern memoir is that the author must somehow convince readers she’s telling the truth—typically by admitting to subjectivity and fallible memory, and by interrogating her version of events. But that’s not the strategy Vanya Erickson employs in her post-WWII coming-of-age story, Boot Language. With vivid detail and some implausibly long passages of remembered dialogue, she presents herself as the sole reliable narrator of her life in California, where she was raised by an abusive, alcoholic father and a mother who failed to protect her (but did “soften Dad’s blows” with inherited money).

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STRANGE WEATHER IN TOKYO, a novel by Hiromi Kawakami, reviewed by August Thompson

The motor of Strange Weather is the slow love that builds between Tsukiko and Sensei. At a neighborhood bar, they run into each other after decades of absence. Maybe at another time they would have exchanged pleasantries and moved along. But they are both living in the same kind of underwater blue. They chat and find that their language is the same. They start to build an intimacy without schedule, running into each other at the bar, sharing meals and drinks, telling simple stories, laughing at their inconsistencies.

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Last night David Bowie sent a motorbike rocket, the first of its kind, into space, with a man having anal sex with a woman.

It has long been every female’s dream for a gay man to have sex with them.

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PLURISY by Joseph Harms

Light Years: plurisy, renewed nostalgia for each moment
as it goes, the dream returning as it’s escaping. / His wife’s
demonic pain, his fuckall, to have failed separately
too long too much together, by the minutes ganged, contemned,

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When we couldn’t dance around it any longer, we set mousetraps and started imagining our two toddlers, Henry and Suzanna, losing their fingers one by one: limp pinkies crinkled like sun-wilt, severed rings, scattered middles, dirty orphaned pointers curling into themselves as if for protection.

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THE REST by Kimberly Grabowski Strayer

THE REST by Kimberly Grabowski Strayer I slept with a kitchen knife in my bedside table as a little girl, I don’t think even my mother knows. She loved all the shows about murder. I would tell her I was scared but she wouldn’t turn them off— if you’re scared, leave the room. The first few shots of each episode: victim who will not live out the next sixty seconds. A perpetrator with artfully hidden face. And screaming, always, screaming even in sudden attacks. I heard once that the word scream is too powerful to use in a poem, or too distinctly female, hysteric, blotting out the rest— here, we begin. After this, a shot of the team of criminal profilers, walking in to the office, discussing how to whip up the perfect plate of pasta, al dente, of course, to remind us they have ordinary lives outside of this television … chop! chop! read more!

TWO FLASH PIECES by Abbigail Yost

One is waking up in a bedroom that you do not recognize. The scent of coffee makes your head ache, but you cannot recall what it tastes like. And you don’t understand because you thought you liked coffee, but now you are not so sure. You feel panic as it fills your fingertips and clogs your throat. The patchwork quilt stifles you, makes threats against you. The newspaper tells victims to put up a fight, but whose house is this, and what if they do not react well to strangers who thrash around in twin beds that creak?

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ONTOLOGY OF FATHERHOOD by Luke Wortley Apparently Jack just learned the basics of genealogy. The lowest, sturdiest limbs branching out from roots of blood not my own. When I picked him up from school today, amid raindrops the size of a newborn’s hands, he told me about Memaw and Poppy and how they were Mommy’s mommy and daddy. “You’re my daddy,” he says. “Yeah, buddy, that’s right.” Though this isn’t legally true, yet. The Sperm Donor, as Poppy calls him, is in Chicago contesting my petition. “And Mommy is my mommy,” he says. “Yup. What’s Mommy’s name?” I ask. “Katie!” he screeches. “That’s right!” Something else about his friend Dontae having to go to the nurse and how it was Layla’s turn for computer time. Pause. Here it comes. “Who’s your mommy?” he asks. Over my speakers the buzzer cleaves his train of thought. Ringing weaves through our family tree. … chop! chop! read more!