THE BOOK OF SARAH
by Sarah Lightman
The Pennsylvania University Press, 237 pages
reviewed by Emily Steinberg
Sarah Lightman’s poignant, engrossing and poetic graphic memoir, The Book of Sarah , leads the reader on an epic odyssey, moving back and forth in time, from the author’s early twenties as an uncertain, dependent, and depressed young artist to a confident forty-five-year-old woman who is finally the architect of her own life.
Raised in England in a traditional Jewish family, Lightman perfectly plays the role of the sheltered, good daughter, but is squelched, suffocated and empty inside. She became more Orthodox as a way to feel part of something larger. She wrote to me in an email, “I had great feelings of inadequacy and no idea about how to navigate life. I think religion can tell you how to live and it is easier than that long, painful journey of working out who you are and making up your own mind about things.” A late bloomer, she eventually discovered she no longer needed the architecture of orthodoxy and began building a “scaffolding of self” with permission to live her own life.
The heart of Lightman’s book is her art, and the black and white graphite drawings of architecture and often overlooked everyday objects are particularly forceful and beautiful. Intensely drawn, with energetic, almost obsessive marks and stark contrast of dark and light, we view sides of buildings with fire escapes, exteriors of family homes and dining-room table and chairs, interiors and exteriors of her boarding school outside London, her books, her therapist’s office, chairs and shoes.
Lightman writes and draws about being a young artist, anxiously uncertain of her abilities.
“I worked through a salad as I waited for a rejection from a gallery.”
She writes beautifully of the overlapping of life events , or as she puts it, “The maths of life. A birth. A death. A Marriage. A death. Someone’s happiness. Someone else’s tears.” She seeks love and relationship, but doesn’t know herself and so can’t know another.
“I had a toothbrush next to mine, so did that mean I was your girlfriend?”
Life evolves. She finds Charlie and has a Traditional Jewish Wedding. Then, her Grandfather is in Hospital and “we visit him everyday and read him psalms.” She muses about motherhood at thirty-six, describing her son Harry’s arrival and what was like to be a new mom.
Life isn’t perfect for Lightman, but she finds a place of contentment that is enough. While searching for a scaffolding to build her life on, we see it was there all along in her art and in The Book of Sarah, Lightman leads us to a place that is both gorgeous and profound.
“Oh my little Love.”
Sarah Lightman is an artist who writes, draws and paints about her life experiences. She is co-founder of “Laydeez do Comics” an international forum for women comics artists and editor of the incredible Graphic Details: Jewish Women’s Confessional Comics in Essays and Interviews, (2014), a collection of the work of eighteen international Jewish female auto-bio comics artists. She earned a PhD from The University of Glasgow in the field of Women’s Autobiographical Comics.
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Emily Steinberg is a painter and graphic novelist and has shown her work in the United States and Europe. Most recently, she has been named Humanities Scholar in Residence at Drexel College of Medicine where she will teach medical students how to draw their own stories in words and images. Her visual narratives No Collusion! (2018), Paused (2018), Berlin Story: Time, Memory, Place (2017), A Mid Summer Soirée (2015), Broken Eggs (2014), and The Modernist Cabin (2013) have been published in Cleaver Magazine. Her graphic novel memoir, Graphic Therapy, was published serially in Smith Magazine, her short comic, Blogging Towards Oblivion, was included in The Moment (Harper/Collins). She earned her M.F.A. and B.F.A. from the University of Pennsylvania and is currently a lecturer in Fine Art at Penn State Abington. You can see more of her work at emilysteinberg.com. To submit graphic narratives for consideration in Cleaver, contact Emily at emilysteinberg@cleavermagazine.com.
Many years ago, as a feature writer for a magazine, I spent weeks visiting with a family whose oldest son communicated not with words but with his body. He said yes or no, go away or come near, I don’t want it or I do by hurling himself toward gestures of acceptance or disdain. He was a beautiful boy, nearly adolescent, larger than his mother who was struggling now to control his outbursts by setting him into a warm bath or hugging him close and overwhelming to his father, who had left his job so that he might try to build a school that was just right for his own son and others. This family was among the most extraordinary I’ve ever spent time with—full of love, chasing hope, unwilling to give up on this first-born child of theirs, and yet so devastatingly exhausted.
Beth Kephart
Since the release of her enormously successful first novel White Teeth in 2000, Zadie Smith has regularly published novels and essay collections, including last year’s acclaimed Feel Free.
Eliza Browning is a sophomore studying English and Art History at Wheaton College in Massachusetts. Her work has been recognized by the YoungArts Foundation, the Fitzgerald Museum, and the Poetry Society of Virginia, among others. This past summer she was an intern at Cleaver and a writing fellow in the Counterclock Arts Collective.
From satirizing the mechanics of the American workplace to discovering motherly devotion in the myth of Persephone, Carole Bernstein’s third poetry collection Buried Alive: A To-Do List takes readers through caves and coffins alike, showing what living things still kick inside the previously presumed-dead.
Cleaver Poetry Reviews Editor 
Mario Levrero’s Empty Words is no ordinary novel. Organized as a series of handwriting exercises, Empty Words offers a look inside a novelist’s mind as he attempts to improve himself by improving his handwriting. Originally published in 1996 in Spanish, it is Levrero’s first novel translated into English. Annie McDermott, who introduces English language readers to Levrero, has translated other works from Spanish and Portuguese, and her translations have appeared in many places, including Granta, the White Review, Asymptote, Two Lines, and World Literature Today.
When I read memoir I want: something to crack and something to rise, something to arc and something to stream, something to move across the page and, as it does, to move me.
“[I]f you begin with an idea you’re usually beat before you start,” writes Robert Adams in Art Can Help, as he tries to imagine Edward Ranney photographing the Canyon del Muerto, and, so, here I begin, having been holding this slender silver volume in my hand all afternoon, interrupted only by the sound of a neighbor’s lawn mower and the smell of some ambient spray paint.
To Rocky, the city of Seoul is truly something to behold. Sprawling skyscrapers dare to kiss the sky, thousands of lights rival the sun at night, and millions of people bustle through at any given moment, while the Han River remains a calm force through it all. And it will soon be his to rule, just like his father, the leader of the city’s most notorious gang, Three Star Pa.
Kristie Gadson is a recent graduate of the University of Pennsylvania with a Bachelor’s in English. But, formalities aside, she knew that children’s books would become her passion when she found herself sneaking into the children’s section of Barnes & Noble well after she turned eighteen. She is a strong advocate for diverse children’s books, and writes diverse children’s book reviews on her blog 
“I call a man a fool if he dives in the water to rescue a dog from sharks.” This is our introduction to Max Havelaar—a champion of the people, even irrationally so. He is a Dutchman who stands with Indonesian farmers. He is a bureaucrat who pushes against the orders of his superiors. Havelaar is a rare figure of compassion in the midst of Dutch imperialism, one who has the temerity and know-how to make tangible change. And, despite all of this, Max Havelaar is a minor character in the novel that bears his name.
Dylan Cook is a student at the University of Pennsylvania where he studies English, with a concentration in creative writing, and Biology. He often reads and writes, and when he’s not doing either of these things, he can be found working in a lab, lost in the woods somewhere, or at 
Liana Finck wants to be seen. In creating Passing for Human, a graphic memoir and her second full-length work, she constructs her life story as Leola, and in doing so fantastically reimagines her youth and early adulthood in a quest to be seen and heard—by peers, by readers, and by herself.
Alexandra Kanovsky is an avid reader and editor and a recent graduate of Kenyon College, where she majored in English and completed her thesis on girlhood in graphic novels. She has interned and worked for a variety of literary locales including Restless Books, Lime Books, and Impress Books. She also served as the Editor-in-Chief of HIKA Literary Magazine, Kenyon’s oldest literary publication. Alexandra can be reached at 
Many of the characters in J. David Stevens’s four-story collection I and You are Chinese immigrants; the author himself is not. In the book’s introduction, Stevens confides that he might never have written about these characters if not for the relationship with his wife Janet, whose ancestors left China in 1899 and later settled in Richmond, Virginia. Reflecting on the source material for his multi-generational narratives, Stevens, whose Mexico is Missing and Other Stories won the 2006 Ohio State University Prize in Short Fiction, admits an apprehension of the age: “[A] part of me still wonders if such stories cross a line, if appropriating segments of our shared history—or Janet’s history alone—is more rightly suited to intimate dialogue. I worry the art is too opportunistic.” This concern is real, and the author is right to acknowledge it. But his outsider’s rendition of the Chinese immigrant experience is respectfully nuanced, and while he does not share the same cultural background as his protagonists, he deeply values their stake in the larger human dilemma that fiction is taxed to solve.
David Amadio teaches Creative Writing and Composition at Lincoln University, where he also edits the campus literary magazine, SIMBAA. He received his MFA in Fiction from Bowling Green State University in 2001. His work has appeared in Talking River, Masque & Spectacle, Packingtown Review, and The San Francisco Examiner. He lives in suburban Philadelphia with his wife and two children.
I first encountered Chloe N. Clark through her prose, but even then, it was clear to me that she was a poet. Her work often feels multimodal in form, something that shines as a written text but that also seems eager to be performed aloud. Her debut collection Your Strange Fortune is no different, full of rich and devastating moments, each poem stretching with fresh life on the page or on the air. Some of these poems also function as works of visual art, such as “Flora and Fauna of the Outer Rings,” embodying their meaning in shape as well as word.
Jeff Klebauskas is a recent graduate of Bucknell University where he gained his bachelor’s degree in Psychology and Creative Writing. Before that, he attended the Community College of Philadelphia and received the Judith Stark Creative Writing Award for both poetry and fiction. He is currently applying to MFA programs for the fall 2020 semester. His work has appeared in Confetti Head, The Bucknellian, and Limited Editions.
It is inside this momentous absence that Kaveh Bassiri’s prize-winning chapbook 99 Names of Exile traces its focus— a conscientious unravelling of what it might mean to be gone from a place and have it be (at least partially) gone from you. The specific absence Bassiri focuses on is accompanied by a sense of irrevocable inaccessibility; it comes after forced immigration and it leaves behind it a different Tehran, a different Berlin. This exile is complex and shifting, it is not the product of a static or singular expulsion, but perhaps more accurately, it’s an imposed exercise that takes continual effort survive. Later in “Memorial Day” the speaker notes “Each morning, in order not to sink, I have to bail the news out/ of me.” Staying aloft is not a default in Bassiri’s poetics of absence, it too requires a constant expulsion of words as news contends with personal memories. At its height, Bassiri’s work exhibits a living and moving exile that fills and empties, critically and poignantly resisting the urge to allow neither nostalgia nor fear alone to take full residency of the past.
A thought experiment: imagine that back during the peak prosperity years of the Obama Administration, with optimism at a high and unemployment dropping, that the good Dr. Oliver Sacks had unexpectedly published a despairing novel featuring a one-armed murdering pimp with white-supremacist leanings named Frank Beaverbrains.
Tyson Duffy is writer and editor who lives in Atlanta with his wife.
Within the first few pages of The Real Sky by Valerie Fox and Jacklynn Niemiec we meet a theatrical tour guide in a haunted town, a man named Andrew who might turn into someone else at the end of the day, and a mother, covered in plaster, who walks into a field and never returns. Valerie Fox’s hybrid writing in The Real Sky is unexpected and surreal. Her ten pieces in the chapbook range in style from dreamlike micro fiction to short snapshot-style poems. At any given moment, you may be introduced to a new place, character, or theme. This meandering and fantastical narrative takes the reader on an unpredictable adventure. Throughout The Real Sky one is left to question what is real, what is imagined, and where the boundaries of possibility lie.
It is a pleasure when a poet weds mind and heart in equal measure. Poets who tend toward innovation are often peremptorily classified by critics and readers as cerebral, the commenter overemphasizing surface play and failing to perceive—much less value—the emotional qualities they bring to their work. Thus ersatz schools and confederacies looser than that of Jefferson Davis come into being.
Johnny Payne’s novel The Hard Side of the River is forthcoming form TCK Press. In the coming months, he will direct his play Los Feliz, and a co-written opera, Skyland. He is currently writing a new play, Cannibals, and a novel set in Imperial China. He directs the MFA in Creative Writing at Mount Saint Mary’s University in Los Angeles.
J.G. McClure’s long-awaited first collection of poetry, The Fire Lit & Nearing meditates on the loss of romantic love and walks through darkness for an answer. McClure refuses, and simultaneously attempts, to mend himself on these pages. There are moments so quotidian—cutting nuts for pesto, a cat bringing gifts home—when McClure’s desire to pull himself through his life, task by task, is visceral. Through gathering pieces of the material world, McClure attempts to construct an answer to the silence after heartbreak. This collection, and the answer it offers, is a darkly funny meditation on loss. With simple and honest language, these poems invoke a desire for recovery.
Kristen Sawyer is an experiential educator working for National Geographic Student Expeditions, the School of International Training, and organizations in Costa Rica and Ecuador. She teaches poetry, leadership and outdoor skills to teenagers in Central California who have immigrated to the United States. Her work has appeared in 
Our bodies are both the fundament and the fundamental threat to our experience of the world. For artists and art lovers, this corporeality more often induces terror than acceptance: cancer’s ghostly invocations in Judith Kitchen’s The Circus Train, retrograde amnesia’s ever-recurring retractions in Christopher Nolan’s Memento, visceral depictions of the mythological in Goya’s Black Paintings. The referentiality of invoking such a list is what Argentinian art critic María Gainza reflects upon in her debut novel, Optic Nerve. 
It’s hard to find communion with a living thing in winter. Anyone with a burrow crawls in, wraps their tail around their eyes. The other night, when snow had just started falling, I braved the interstate on my way to another city, to share a friend’s burrow. Some black ice spun me around, and I slid off the road, stopped in the median, my tread marks looping back through the new snow like a confused shadow. I’m fine, thanks. I didn’t turn around, kept driving, couldn’t bear missing a chance not to be alone. The car’s fine, too, just brown all over from the dirt I scooped up. I haven’t washed it yet. I like chauffeuring dirt around the city, an unanswered text message from the world of matter: I’m still here.
David Grandouiller writes essays, poetry, songs, and plays, and lives in Columbus, Ohio. He’s interested in work that complicates or collapses genre boundaries.
Originally released as an E-book by Instant Future in 2015, essayist Elissa Washuta’s Starvation Mode is now reborn in corporeal chapbook form. At 50 pages, it can be read in one sitting, and I recommend this approach for best absorption of its nutrients. Nutrients, numbers, rules—Washuta is constantly searching for a calculus that will solve the problem of what goes into the body: “I would like to return to a time before it got so hard to eat,” she writes in the chapbook’s opening, “but eating has always been the hardest work I’ve ever had to do.”
What is a free life? This seemingly simple question is, of course, anything but simple. Theorizing a possibility of a free life with a recognition of the various structural oppressions in society is a challenge brought to vivid life in Wayward Lives, Beautiful Experiments by Saidiya Hartman.
Gabriel Chazan is an art historian, focusing on photography and gender. Gabriel recently completed an MA at University College London.
Joanna Ruth Meyer’s second YA novel, Echo North, opens with a classic fairytale premise: Echo, who was attacked as a small child by a wolf, is scorned by her village because of the brutal scars on her face. When her father remarries, the cruel new stepmother takes every opportunity to let Echo know just how ugly and worthless she is. Hoping to pay off the debts that his new wife has incurred, Echo’s father journeys to the city. In his absence, Echo’s situation at home becomes unbearable and she flees to the woods. There, Echo stumbles upon her father, not lost in the city after all, but terribly wounded. As Echo rushes to his side, a wolf appears in the forest clearing—the same beast that scarred Echo’s face years earlier. The wolf promises to heal Echo’s father for a price: Echo must stay with the wolf for one year in his house under the mountain. Upon agreeing, Echo soon learns that the wolf is as much a prisoner as she is. He is confined in the house, and in his terrifying form, by a mysterious enchantment. The house’s magic becomes dangerous at night, and the wolf warns Echo not to leave her bedroom until daybreak. Although he sleeps at the foot of Echo’s bed, she must never light the oil lamp or look at him during the night. The similarity to “Beauty and the Beast,” the Greek myth of Eros and Psyche, and the Norse tale “East of the Sun West of the Moon” might make these plot points seem predictable. However, Meyer does not simply retell an old story; she complicates and reconceives the genre’s conventions.
Rachel Hertzberg is from Minneapolis and is currently pursuing a double major at Bryn Mawr College in English and Spanish.
Every self-professed American optimist should read the oeuvre of Walter Kempowski—not that they ever will. The chronicler of brutality was never given a fair shake even by his fellow Germans, and despite strong book sales, by literary award committees. Kempowski had plenty of reasons to be angry—angry at his Nazi father whom he betrayed, at what the agonized Sebastian Haffner once called the “moral inadequacy of the German character,” at the literary world for snubbing him, and at every center of power involved in WWII: the Russians, British, Germans, Europe itself.
Melissa Duclos’ debut novel Besotted is a lyrical, urgent love story about two young American women, Sasha and Liz, who run away to China to try to find themselves. Sasha has fled all the trappings of her privileged life, including her father who disapproves of her sexuality. Liz, the object of Sasha’s desire, has packed up and left her predictable existence and Amherst-educated boyfriend, having grown tired of being an afterthought of his otherwise-enchanted life.
Lisa Johnson Mitchell is a freelance writer in Texas. She has an MFA from Bennington College, where she was an Assistant Graduate Fellow in Fiction.
Grief is a waiting room with broken blinds. Cracks in the slats reveal some light outside, but since the pulleys won’t move, it’s impossible to know when—or if—the sun will shine on us again. The first time you lose a parent, this room feels strange and its shadows thwart your compass. Like death itself, you’ve been told that grief brings anguish. Yet until it happens, it’s hard to imagine what it really feels like to lose your mom or dad. When my father died, I barely ate a thing. I started buying coffee on the way to work each day because the hot cup gave me a weird kind of comfort. If you can feel that heat burning through winter gloves, you know you’re still alive. If you can swallow the coffee, your heart will beat its way through another gloomy day. Six months after my dad’s funeral I wore a red dress to the office. A friend looked at me and said, “Now you look more like yourself.” I was not aware that I’d ever been any different.
Colleen Davis is a freelance writer currently at work on her memoir on the healing aspects of caregiving. She serves as Director of Communications for Delta Community Supports, Inc. and her writing has been featured in 
Adiós To My Parents is a universal family story. Although the setting (Mexico, Belize, Guatemala) is unfamiliar to me—I’ve lived in the Chicago suburbs all of my fifty-one years and, regrettably, have taken only one Spanish class—the people in this book are so richly drawn that I know them instantly. For example, I recognize the author’s maternal grandmother, a cranky old woman who’s come for a rare visit: “When she’s upset with [my younger brother], she says: ‘I’m going to crack you one.’ By which she means she’ll slap him, but to Luis Miguel this sounds like sugar cracker, and he replies: ‘So let me have it.’” Every family has these stories, the ones we bring out when we’re all together again, so we can laugh at the old days and remember those who are gone.
Since 1993 Kim R. Livingston has taught English at Waubonsee Community College in Sugar Grove, Illinois. Recently she began working on her own writing again, inching toward an MFA in Creative Nonfiction from Bay Path University. Now that her kids are mostly grown, she and her husband, after being cat people their whole lives, are helicopter parents to a Nova Scotia Duck Tolling Retriever.
What is good poetry? Is it what the masses decide? (Not that there are really any masses reading poetry.) Or do the arbiters of taste (other poets, professional poet-critics like me) get the last word? Gertrude Stein is one of the early practitioners of that ungainly creature, often misbegotten, and difficult to evaluate sub-genre known as the prose poem:
Since 2016, many journalists—as well as academic, political, and literary writers—have been sounding the alarm about the future of American democracy. The writers trying to shake Americans out of their manifest-destiny stupor are a diverse cast, ranging from activists who wouldn’t hesitate to label themselves members of “the resistance,” like New York Times op-ed columnist Charles Blow, to people like David Frum, former speechwriter for George W. Bush, who is still reviled by many on the left for his role promoting the Iraq and Afghanistan wars.
A few days after I finished Catherine Pikula’s chapbook I’m Fine. How are You? I read the following sentence: “I would like to make a book out of crumpled-up pieces of paper: you start a sentence, it doesn’t work and you throw the page away. I’m collecting a few … maybe this is, in fact, the only literature possible today.” The sentence came in the last hundred pages of The Story of a New Name, the second book in Elena Ferrante’s Neapolitan novels. And while the “today” referenced above was Italy in the 1960s, the description was oddly reminiscent of the small, thread-bound chapbook published in 2018 that I’d recently put down, I’m Fine. How Are You?
“As with any book, my book had its own special fate—it was born by mistake,” claims Levan Berdzenishvili, in the opening chapter of Sacred Darkness. Levan wakes up in a hospital, sick and disoriented, with a high fever. He realizes he has some debts to pay before he can jaunt off to Hades. Levan is a specialist in Greek literature, so he doesn’t talk of “dying.” He refers to “my departure to Hades.”
The Barefoot Woman opens with the author’s mother, Stefania, imparting knowledge to her daughters. “Often in the middle of one of those never-ending chores that fill a woman’s day,” Mukasonga writes, “(sweeping the yard, shelling and sorting beans, weeding the sorghum patch, tilling the soil, digging sweet potatoes, peeling and cooking bananas…), my mother would pause and call out to us.” Much of the book proceeds from this image: we learn the details of her mother’s life and rituals through her endless work and we learn the kinds of things passed down from a Tutsi mother to her daughter—one of only two of eight children to survive the 1994 Rwandan genocide.
Kristie Gadson is a recent graduate of the University of Pennsylvania with a Bachelor’s in English. When she’s not trying to justify why she’s browsing the children’s book section of Barnes & Noble, she’s drawing cartoons, playing with her cats, writing short stories, and binge-watching Netflix like a true millennial.
RE-
Hope Fischbach is an emerging writer and poet who studies English and Spanish at Lee University. Her interview with Andrea Blancas Beltran is published on Speaking of Marvels, and her poetry and flash fiction are forthcoming in the 2019 edition of Lee Review. When she’s not writing, you can find her blissfully overspending at used book shops, scouring online art galleries, or wandering in the mountains. A South Carolina native, she currently resides in Knoxville, Tennessee.
Panic Years, Daniel Difranco’s debut novel, is a hyper realistic account of a band on tour. Told from the perspective of laconic Paul, Panic Years follows indie bandmates Paul, Laney, Gooch, Jeff and later Drix across the country’s dive bars and clubs. “I’d joined Qualia because they were a good band with a shit-ton of underground buzz,” Paul muses on page five, setting the band’s intention for the rest of the tour: build Qualia’s indie fame to a record deal, or some serious label recognition.
A man walks to the post office to mail his manuscript to a publisher, but he doesn’t complete the errand. Instead, he begins stalking another man, Aron Cesar, through Reykjavik. Hours pass. They watch the World Cup in pubs. They sit in the same movie theater watching La Grande Bouffe, a 1973 film about overconsumption. Aron is probably unaware of G., the stalker, following him everywhere with persistence but no outstanding purpose. After detailed observation, G. goes home without confronting Aron. The next day, G. decides he will after all mail the manuscript, which may or may not be the book, Narrator, which is currently in progress under the reader’s eye. 
“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.
Identity-seeking for Hudson’s narrators, however, not only requires coming to terms with decay and loss but also with the very communities in which they find themselves by choice or by accident. In “Adorno,” the narrator finds herself in a bus with vegans and animal rights activists. She had joined We R Animals because she wanted “a purpose, something nonviolent, a set of rules to follow,” and she had told the vegans that she only ate fruit. “That’s why they decided to love me, to take me in,” she reflects. Fruit is indeed all she eats, despite the pangs of hunger that she feels. The narrator had craved this purpose, even if it meant being hungry and riding around in a van smelling of menstrual blood, which would be smeared across anyone wearing fur. She was trying to come to terms with how and why as a lesbian she had nevertheless slept with her sister’s husband. The van stops a petrol station where the narrator goes inside to use the restroom. But “[b]efore [she] know[s] what [she’s] doing, [she’s] peeling back the casing on summer sausage.” After a diet of only fruit, she is famished and eats the sausages too quickly but not without concluding, “I don’t care who’s looking.” She is not the “fruitarian” she said she was. The story ends with the narrator realizing that she’s simply not that person, and she “doesn’t even care.” It is that type of self-realization that permeates Hudson’s writing.
THE FEMALES
Gabriel Chazan is currently completing an MA at University College London in the
History of Art.
SLEEPING DRAGONS
PORTRAIT OF A BODY IN WRECKAGES
Cleaver Poetry Reviews Editor 
WHITE DANCING ELEPHANTS
AFTER THE WINTER
BOOT LANGUAGE
STRANGE WEATHER IN TOKYO
August Thompson has worked as an editor and writer since graduating from NYU in 2013. When he’s not working on fiction or watching the Boston Celtics, you can usually find him at the movies.