Strong dialogue forwards plot, it demonstrates the nature of relationships, and it also (paradoxically) highlights what characters can’t or won’t say to one another.
Cindy Juyoung Ok’s “Haunting Season” opens with a declaration that “the hunt” has begun. What follows is a series of reflections on the concept of the self, especially the self under surveillance, the self as an Othered reflection.
Sarah Fawn Montgomery’s essay “The Experiment” shows how extensively the patriarchy has affected our education system and how these practices perpetuate sexual violence toward women.
Someone holds the makeshift beach up from one end, and the world floods, swell surging to one side of the homemade wave machine before the water rushes back, quick, aggressive, eroding bits of the science-fair project with violence before softening slowly, slowly. Repetition eventually grinds everything down to nothing. We are supposed to make a …
Translated by Yuemin He, “End of the Year Poem, 2020” by Zhihao Zhang begins where many of us begin our days (regularly, but perhaps especially during a global pandemic): looking at our phones. This mundane act gives way to a reflection that, like the year 2020 itself, is filled with rote action, uncertainty, and contradiction.
Titling is sometimes the easiest, sometimes the hardest part of crafting a poem—a process that seems shrouded in both mystery and luck. Five poets share their perspectives.
The speaker of Dev Murphy’s hybrid piece “The Hoard” uses the words of literary figures to examine and reexamine love and desire, creating a hoard within the text itself, which she reshapes throughout the piece.
(To use the PDF embedder to see both poems, use the arrows on the bottom left-hand side.) See more poems from Issue 17.2 by purchasing a copy in our online store. Digital copies only $5.
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