ANATOMY OF A MONARCA by Antonio Lopez Emerging from the quilted cocoon of the brown monarcas is an infant who in silk immigrant dreams, vuela. His oceili eyes painted in Kahlo’s autoretrato-frontera, a horizon hued in moretones. Primed at his prefrontal cortex: his brother’s Mara Salvatrucha punches. Papá’s campesino hand ……..desperate a firmar el contrato. Barefoot newly-widows ……..scream their sobs inside a veil— ……..Quiche dresses ……..wave copal incense ……..over a pine box. Who determine Which Way Home* by steadying their tarsals, tres veces mojados, to the cold iron of La Bestia’s roof. They flap their limbs, patterned in the dead-leaf camouflage of cigarette burns. Their diet consists of soiled dreams. After fourteen days of hunching, the boys will have molted into men in the dead chrysalis of night. Dos huérfanos entrelazan brazos encima del tren móvil. Sus estómagos aporrean para esa Manzana Grande cuyos rascacielos ellos solo han salivado en … chop! chop! read more!


LIFE DURING WARTIME, a novel by Katie Rogin, reviewed by Isabelle Mongeau

Katie Rogin’s debut novel, Life During Wartime, presents the struggle that soldiers, and their families, face adjusting back to civilian life. The story begins when 21-year-old Nina Wicklow, home from duty in Iraq, goes missing in a small town outside of Los Angeles.

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Early one evening in 2001 I watched an airplane as it cut through the African sky leaving its long and distinctive vapor trail. I stood still, taking a moment to wonder what the view looked like from above. Recalling my own thoughts when traveling—arrival, the days that lay ahead, a new movie on the in-flight entertainment, the ever-shrinking leg room—I realized that few would have reason to suspect the calamity that was unfolding below.

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MINA, a novel by Kim Sagwa, reviewed by Kelly Doyle

A new novel, Mina, written by Kim Sagwa and translated from Korean by Bruce and Ju-Chan Fulton, attempts to chronical adolescences, a transformative time of life, but in the context of a world that does not condone individuality, experimentation, or choice. Through unconventional characters, a high-pressure setting, and an unapologetic directness that is both off-putting and enthralling, Sagwa creates an entirely different kind of teenage drama. By placing three emotional, confused young people in a world of restraint and hidden suffering, she ignites an explosion of a story that is entirely new. It does not have the charming humor of John Green or the contrariety of J.D. Salinger. Instead, it is an immensely serious and angry portrayal of a teenage breakdown.

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COMEMADRE, a novel by Roque Larraquy, reviewed by Justin Goodman

There is a plant “whose sap produces […] microscopic animal larvae” that can consume rats “from the inside out.” It can only be found on “Thompson Island, a small landmass in Tierra Del Fuego,” within Argentinian screenwriter Roque Larraquy’s debut novel Comemadre—the name of this plant of spontaneous generation. Translated in the novel as “motherseeker or mothersicken,” this fictitious plant and its larvae symbolize the dual powers of violence to create and destroy. First as crime, then as art.

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DEEP CAMOUFLAGE, poems by Amy Saul-Zerby, reviewed by Mike Corrao

Amy Saul-Zerby’s new collection, Deep Camouflage is the manifestation of heartbreak. It is the fables that spawn from moments of empathy and melancholy. It is the conversation that a poet has with their reader. More than most poetry collections, Saul-Zerby’s is a sequence that asks to be read all at once.

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ASK JUNE: The Prize Dilemma

I recently attended two events, one involving my niece and one involving a colleague’s spouse.

The first event was a local gymnastics meet for middle schoolers—just an informal, rec center thing. In my niece’s cohort, there were seven kids competing. My niece, who had won First Place at the previous meet, was very excited and did what I thought was a very nice routine. Anyway, it turned out that there were five awards, for First through Fifth Place, which were announced in reverse order à la Miss America Pageant, with many pauses and lots of drama. By the time they got to First Place my niece was practically jumping up and down with anticipation. When another girl won I could see her blushing and trying to hold back tears. The presenter then announced a sixth award, for a specific apparatus—and my niece didn’t get that one, either. So the result was that she in effect was told that she was the worst person competing.  

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LOVE, HATE and OTHER FILTERS, a young adult novel by Samira Ahmed, reviewed by Leticia Urieta

Maya Aziz sees her world through a camera lens. “One thing I’ve learned,” she says, “People love a camera, and when I’m filming, they see it, not me, so whenever I need to, I can disappear behind my trusty shield.” She is often the observer, experiencing her life on the outside looking in. As the novel opens, Maya is at a crossroads: she has been accepted to NYU’s prestigious filmmaking program, but her traditional Indian Muslim parents want her to go to school in Chicago, within reach of their influence and protection.

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KATALIN STREET, a novel by Magda Szabó, reviewed by William Morris

Four children play together in a quiet neighborhood. The children are Henriette Held, the young daughter of a Jewish dentist; the Elekes sisters, Irén and Blanka; and Bálint Temes, the handsome son of the Major. Their game is Cherry Tree, in which they all sing and spin in circles, and one of the children “chooses” another, the one they love. In this innocent game, the girls invariably choose Bálint, and each girl develops her own particular feelings for the boy; when it is his turn to choose, though, Bálint always prefers Irén, the oldest and most serious of the three. This is one of the earliest memories shared by the Elekes, Temes, and Held families, who form a lifelong, tragic bond in Magda Szabó’s Katalin Street.

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NEVER ANYONE BUT YOU, a novel by Rupert Thomson, reviewed by Melanie Erspamer

With quiet skill and rich description, Rupert Thomson strings the lives of two eclectic lovers through the tumultuous history of Paris and the Channel Islands during and between the two World Wars.

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CUBIST STATES OF MIND/NOT THE CRUELEST MONTH, poems by Marc Jampole, reviewed by Alessio Franko

Whereas his previous book references artists, movements, historical figures, and myths, Jampole has made the bold choice here to work from two overarching cultural touchstones. Rather than searching for the vocabulary it shares with the reader, Cubist States of Mind/Not the Cruelest Month undertakes the creation of a new such vocabulary altogether. The result is two series of poems that sit on the edge between the particular and the universal, the everyday and the extraordinary, the true and the beautiful.

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THEY WERE BEARS, poems by Sarah Marcus, reviewed by Nathan O. Ferguson

The poems in Sarah Marcus’ book, They Were Bears follow a young woman, the speaker of most of the poems, who pursues discovery and sensation in the remote corners of the American wilderness. The narrative shapes this wilderness into a wide-open expanse characterized by uncertainty, wonder, and menace. The backdrop also shifts from unpeopled natural settings to the speaker’s agricultural childhood home and to the industrial sprawl of Cleveland. The book’s three untitled segments each alternate between lyric poems and prose poems, and all use bears and other animals as central to their imagery and symbolism. Poems in the book discuss a variety of themes, including family, sexuality, and womanhood. The primary foci of the work as a whole, however, seem to be overcoming trauma and embracing nature. Together, the poems tell the story of a woman defined by her passion and resilience in the face of a harrowing past.

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COOP by David Nolan

Martha screams and runs to the bank of the cow pond when she sees her four-year-old boy walk into the murky water. His head is submerged by the time she arrives and her husband, running from the horses, peels off his shirt and dives in. She screams her son’s name for what feels like hours to the sky doming endless Oklahoma plains.

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THE BONE PLATE by Jacqueline Gabbitas

She took the partial denture from her mouth and passed it to the boy. He’d lost two teeth in the scrum to leave the boat and even though the gum had healed it was hard for him to eat. He stared at it like it was a thing alien. She nudged his hand and, smiling, gestured with her own what to do. She was not an old woman, and so he wondered how she’d lost the teeth herself. He saw in her eyes tenderness and the knowledge of being hungry.

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DESTIN by Ron Riekki

It was a cold afternoon in Florida.  December is often occupied by a pain-in-the-ass wind, but today the air was relatively humbled.  This was after I’d just finished EMT school and was nearly fifty-years-old, the alcoholism under control again.  My partner was a child, a teen who wouldn’t let me listen to the radio, insisting that he play some sort of robot music on his telephone.  He was hyperactive with sleep deprivation.  We were on a twelve-hour shift.  The cows off to our left weren’t eating grass, weren’t walking, weren’t sleeping, were just standing there with a sort of monstrous close-to-suicidal depression.  My partner looked at them and penetrated the sky with a horrific fake moo. 

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CHORUS by Mary Lou Buschi

Bloody Mary was neither skull nor naked bone.
………….Sister of blood and flesh
they said your name 3 times,
………….walked backward up the stairs,
followed you to the weed choked creek

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I found hidden within the language of security in Executive Order 13780 the underpinnings of a xenophobic worldview that simultaneously aspires toward empire. In the text of the poems I sought to lay bare the underlying mechanics of power inherent such colonial impulses, and in the visuals I sought to subvert the legitimacy of claims to security from an administration compromised by foreign power. In attempting to hide the Soviet origins of the film Nebo Zovyot the American director of the retitled Battle Beyond the Sun replaced Soviet spacecraft with U.S. ones, obscured all text that appeared in Russian, and replaced the names of Soviet actors with those of English voiceover actors in the film’s credits; the screen-captured compression artifacts, the bleed through of data between the video’s keyframes and the P and B frames (usually hidden and containing only partial information from the surrounding frames), for me served as visual metaphor. 

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NUMBERS by Joshua Wetjen

“What is the lowest number?” my daughter asked.

“There is no lowest number,” I said.

“I know,” she said. “It’s zero.”

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THE AUGUST TEMPLES by Jennifer Solheim

In the photo half my face is showing but the focal point is a streak of silver white. I dye my hair dark but last year when I began growing out my pixie haircut, I let my temples keep their natural color. I had cut my hair short when my daughter was a toddler and I couldn’t stand a thick knot at my nape. But time was passing. My hair was growing. I was about to go for a run and when I tied my hair back I liked the look of it, the distinguished white and gray streaks.

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APOCALYPSE THEN by Sahalie Angell Martin

On July 20th, an article appeared in the New Yorker detailing the specific ways in which my hometown will be wiped off the face of the earth.

The article, entitled “The Really Big One”, described an earthquake that is due to devastate the Pacific Northwest within the next fifty years. Everything west of Interstate 5 will disappear, including my own city of Eugene as well as most of the major population hubs in Oregon. The piece was well-researched, visceral, and packed the hard-facts punch of any other apocalyptic warning: Billions will die. Cities will burn. Don’t bother with the hazmat suits.

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The thing about being the murdered actress is you set the plot in motion.

Your picture will be in the tabloids, your parted mouth, your half-closed eyes. She was so beautiful, people will say. So young. You’ll be loved, desperately. Photos of you cut out of magazines, pasted on bedroom walls; your name tattooed onto forearms, upper thighs. I’ll never forget her.

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THE FALL ZONE by Laura Moretz

First thing that morning, a woman told Henry his crew must not cut her tree’s branches. She looked as though she wouldn’t survive if he cut the thinnest twig from the huge willow oaks in front of her house. Fully dressed and made up before eight a.m., she clutched the notice that his crew had hung on her door knob a few days before. She argued for the integrity of the tree as though he had suggested cutting the arms off her grandchildren. A branch as large as a trunk had shot over the power lines. He gave her his supervisor’s phone number. Her hands shook as she dialed the number on her flip phone, murmuring, “murder, murder, murder.” They moved their trucks to the next house—on this road, almost all the properties had tree limbs extending over the wires.

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BARREN by Lynn Oseguera

I walked in my grandfather’s garden while my sisters took their turns saying goodbye. The peony bushes, now barren, were my grandmother’s favorite and, for her, he had always tended them. She had long forgotten who we were, but just that morning had told my sisters and I how much she missed peonies in the springtime. I walked past her still staring at the empty bushes through the window when I came inside to take my turn.

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A HISTORY OF WASHINGTON, D.C. IN NINE SCENES by Nick Kolakowski June 1792 My Dear Elizabeth, This is beautiful country. The hills are a verdant green & the river Potomack bountiful with fish & amenable to navigation & it seems agreeable that the Capitol of our new nation should find itself erected on this spot. Yet the ferryman conveying me across the muddy waters displayed a surly nature worthy of Charon. When I informed him of my intent to survey the boundaries of the federal district, he snorted & spat & declared the area a fetid swamp unfit for Civilized Man. Losing four fingers to a cannonball in our most recent War—so he informed me—seems to have put him off the idea of Governments in general. Once ashore I found a buzzing legislature of insects awaiting me with each one a hellion anxious to sip my blood. The humid air … chop! chop! read more!


This is what you do when you are out of diapers: you go to the store.  You go to the store because your husband is out of town and can’t stop by on his way home from work.  You go to the store despite the news warnings, despite the way the air has sunken into a disquieting yellow.  You go to the store because last night the baby cried for two hours, kept you up from one to three, before you finally pulled him into your bed and placed him on your husband’s side, nestled him in a pillow that wouldn’t let him roll over.  You go to the store because maybe someone will talk to you; maybe someone will wonder how you are doing while they hand over your change, and you will be able to smile and laugh and roll your eyes because, Well, you know how newborns are.

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A blocked valve facilitates prayer. A blocked airway inspires a
sudden reinvestment in the communicative powers of miming. A
blocked pathway introduces the stern demands of an omnipotent
being. Palms should be dry, mouth wet, or is it the other way
around? Like the soldier the child imagines himself becoming,

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  ­FROM HERE TO THERE by Gloria Yuen Barrier on, the device declares. “When you initiate the force field,” the Head Agent instructs, “you lock yourself in an impenetrable membrane. It will keep danger out. But it will also keep you in.” Barrier off, the device declares. I engage Search: Force field, noun. Popular Articles. The invention of the force field (neochrome). The invention of the force field (electromagnetic). History of force field usage in Post-Contemporary warfare. [New in TECH] ‘Defense Fields’ for Civilian Homes in Final Stages of Development. The Head Agent claps her hands. I exit Search. “Field practice with the neochrome next week. Dismissed.” We salute in unison. “What happens if you walk through a force field?” M-2 asks at my left. I turn to examine him. Raised eyebrows, slightly open mouth. Inquisitive. He is one of the preliminary cadets to join the M garrison and is … chop! chop! read more!


various yellows, golden-rods, butter-fat, chrysanthemum wax-wings
..sprung from thin etchings of faith, is it just random—
….the rabbit/sleeve disguised: the magician’s headband
white as an Olympic
………..jogger’s, woolen shawl red as the gore in a dog-fighting ring?

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THE HIGH ROAD TO TIFFIN by Jake Montgomery

moves in gravelly time, so that the words I say here
have been said before, and my car
is covered with the dirt and dust of little cabins
where people live on the sun,

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THE SECOND MOTION by Elaine Cannell

In the first motion, I wrapped everything in newspaper,
emptied glass stones from the bottoms of fishbowls,
recycled the recyclables, bandaged my raw hands,
cut up ancient credit cards and plastic valuables,
braided the sheet rags, the scarves, the silk slips.

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DISCONNECTED by Hedia Anvar 

When the seabird completed its third circle, the only cloud in the sky parted in two just as you said it would, and once the topmost layer of sand, thin like a vapor, blew across the beach and into the sea as an enormous wave collapsed on the shore, there you stood, like you’d been swimming under the wave all along, your trunks glistening black as you stepped forward, above me, your hair dripping cold sea on my sun-warmed skin, the two of us alone on the beach, pretending we’d been there together since morning, you swimming while I bathed in the sun, and our embrace and my tears that followed, were simply acts of impulse between us, then switching to laughter because for the first time that day…

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DEATH IN AUGUST by William Hengst

In 1944, at the age of five, I invented the magnifying glass. The end of a Coke bottle, when held up to the sun, could make anything burn and vanish. First, bits of paper—cellophane from my dad’s Chesterfield packs, and my bubble gum wraps—then live things like slugs, worms, the hind end of ants. Once I torched a whole village, many casualties, dead ants smelling like burnt tires. I needed to hurt something that couldn’t hurt me back.

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QUARRY by Emily Wick

On the night the hunter shot the moose, they asked me to hold the lantern. Three men struggled to hold the body so the hunter could make the cut, and I cast gold light over them as he sawed along the ribs of the bull. There was no smell but male sweat and the crush of dead leaves under the tarp around us. Death hadn’t been there long enough to diffuse its odor into the night.

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LATE NIGHT THOUGHTS by Jonathan Louis Duckworth

In the silver heart of everything
there is a constant quivering.

We think the sky is boneless
only because it hides them well.

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TO EACH HER OWN by Natalie Kawam

The world, I never thought, was worth its wake
In my image alone, kicking storms about itself
Like me, a bright desert whore in plain, my face

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THE CAT APOCALYPSE by Mariah Gese When it happens we are prepared. The way we know it’s a real apocalypse: the portents of headless voles on our pillows. We divine it in the depths of carpet vomit, in the bones of small birds they bring us. The glorious future in the spilled water bowl. If it wasn’t meant to happen, then why the adorable begging eyes, containing within them the tantalizing fullness of our futures, round and perfect, like globes of sweet fruit that grow huge and pop on the vine? Why the delicate rasp of tongue, the ephemeral curl of tail? Their fur, too, that velvet smoothness we are forever petting for the drugged feeling it awakens in us. Cats are better than caffeine and sugar, chemically, they are better than mimosas or wholesome friendship or anything we used to love. They rearrange and better us inside, ideal parasites. … chop! chop! read more!

CHESHIRE CAT by Sarah Bradley

The winter when Lucy was nine and her brother Nick was 12, he taught her to play chess. They bent over the crosshatched board on the living room floor in front of the fireplace, blonde heads nearly touching, all through Christmas break and into the new year. Wool socks and hot cocoa and Bing Crosby late into the night, the Douglas fir in the corner shimmering with tinsel.

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EXECUTION by Hussain Ahmed

There is a ceremonial volley over a grave
I climb on the branch of an olive tree
to peep at the field where unarmed men
faces the firing squad, their prayers clamped
inside their mouth. from over the fence
I chose my favorite prisoners

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You will score 135 points in your next high school basketball game. January 26, 1960 is the night it will happen. Hello hoops history. Guinness Book of World Records, here you come. Your name is Danny Heater, and your record, 135 points, will last. But, this does not come as straight victory. It does not come without problems. And which problem is worse: that your mother missed the game or that you didn’t even get to enjoy your record? Your world record, the one that congeals and permanently attaches itself to you. It’s basketball. It’s a game. But your record makes you proud and embarrassed. It makes you happy and sad.

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THE ZOO by Matt Whelihan

A week after the classes ended, the community service started.

Seven of us stood in a small lot outside of a small zoo. It was the kind of place single dads with child support payments take their kids because it’s close and cheap.

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RETREAT by T.C. Jones

The church retreat is the last bit of bullshit before we get confirmed. We are at a bunch of crappy cabins on the dumpy shores of Lake Erie. They call it a holy camp, gave it a fancy name too: Camp Gold Field. They got the field part right, but I don’t know where they got the gold. Everything here is barren and gray. Last night there was a thunderstorm, but today the sky is defeated and a blanket of grey snow clouds have replaced the horizon. The seasons are theatrical in these parts—especially during April.

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It has nothing to do with the banjo –this chair
aches for wheels that will rust, wobble
the way riverbeds grow into something else

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THE RELIC ROOM by William Wells

A Civil War cannonball dug from a field
near Petersburg now props open the door.

He shows me in. The room was purpose-built
to house his large collection. In matched pairs,
bullets are bedded like lovers and displayed
by battle, Antietam through Yellow Tavern.
After closing the door, he cradles the ball
on his lap and strokes it like a hefty kitten.
No explanation why it didn’t explode,
or won’t someday. Should ammunition purr?

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I AM NOT JEREMY LIN by Christina Sun

I was driving smooth along I-205 in the brand new GS F Lexus because I needed a car, not a bike, according to my parents, and Brad’s asking me, “Jeremy Lin? Like the basketball player?” because maybe Brad was wondering if I was the point guard for the Brooklyn Nets, but he didn’t want to be racist in case I wasn’t and he was also trying to sell me this car and silent rides weren’t good for a sale. I explained that while my name was Jeremy Lin, I was in fact, not the point guard for the Brooklyn Nets who went to Harvard without a scholarship and averaged twenty-six points per game. I didn’t even hit six feet. I knew all this because I knew everything there was to know about him (as I assumed most people would if they shared their name with a celebrity). I’d lived in his shadow for the past six years he rose to fame.

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HEAVY LIFTING by Jennifer Turnquist

A guy comes into the drugstore and goes to the snack aisle. Early twenties, longish hair, patchy beard like he never learned to shave properly. He glances at me so I look away quick, busy myself with straightening the packs of Life Savers on the counter. I’m not watching him because he’s attractive or anything. He isn’t. He’s skinny and stoop-shouldered. I’m watching him because of how his eyes dart around and because he keeps fidgeting with a buckle on his canvas backpack.

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PAUSED by Emily Steinberg

PAUSED by Emily Steinberg with an introduction by Susan Squier My own menopause was a surgical one. It surprised me over the course of several months, with excruciating pain, then finally a diagnosis of ovarian torsion, then a hysterectomy/ovariectomy. It announced itself so dramatically that I felt entitled to give it the proper respect. To pause. To rethink everything (which is what I did, which is another story.) But reading Emily Steinberg’s remarkable comic Paused, what grabs me is her remarkable recognition: her gripping ability to see the Dark Horse Menopause approaching (“unbidden and unwelcome”) amidst the dailyness of a young woman’s life, to envision Menopause announcing herself in her calamitous lability, her flow of symptoms (waking, drenched, freezing, stuck, and then raging heat surges/broiling/sweating), and finally her mythic multiplicity. …she’s a banshee; she’s La Belle Dame sans Merci in her fully cloaked and unwelcome glory; she’s a desiccated Madame Frankenstein … chop! chop! read more!

LADIES’ NIGHT by Erin Pienaar

It’s inevitable—they order wine for the table and the topic turns to death. Three drinks in and they’re all tipsy and tender. Ladies’ night out isn’t supposed to be about death. It’s about looking and acting alive—youth and vibrancy signaled by rouge on the cheeks, pink on the mouth.

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GASLIGHT: Lantern Slides from the Nineteenth Century, essays by Joachim Kalka, reviewed by Katharine Coldiron

With a title and subtitle like Gaslight: Lantern Slides from the Nineteenth Century, the reader will be forgiven for thinking Joachim Kalka’s book is a collection of visual art. It is not. Though it does contain a handful of visual descriptions, it bears not one illustration, woodcut, or photograph. No lantern slides, and no visual depictions of gaslight. What it has instead are words, many of them, artfully arranged. Kalka’s words, assembled into eleven essays and a preface, are densely packed and remarkably pointed. Although his purpose is to glance back at the nineteenth century, not to historicize it, or even to theorize about it with a particular agenda, Kalka is a highly organized thinker. His insights prove scintillating, if specialized.

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AARDVARK TO AXOLOTL, essays by Karen Donovan and TALES FROM WEBSTER’S, essays by John Shea, reviewed by Michelle E. Crouch

Karen Donovan’s Aardvark to Axolotl and John Shea’s Tales from Webster engage with this paradox via the dictionary, that great alphabetizer of language. The dictionary is the reference-book-of-all-reference-books. It is writing broken down to its most basic components, as a color wheel separates out the most basic tools of the painter. It also makes for dry reading. As far as plots go, it’s lackluster.

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ASK JUNE: The Reluctant Bridesmaid and The MFA Marriage

About two years ago, Luke went off to the Midwest to get an M.F.A. He just moved back home to take a job at our old high school, where I also teach.

This would be great except that “Elaine,” the woman he has been seeing since about Day Two of his Master’s program, moved here with him. Now he tells me they are getting married in September. I am not crazy about Elaine and have no doubt that life will not be as much fun with her in the mix, but I can live with the situation.

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