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The Sea Palaces
“Before Liberation, emperors had idled there, among pleasure grounds of lakes and pavilions, and it was said you couldn’t look directly into its gates or your vision would blur.” Third Daughter is recruited for a ballroom dance troupe at the home of the Chairman in this excerpt from Vanessa Hua’s novel-in-progress.
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Cul-de-sac
“In their baskets, they carry / small tokens of privilege that they barter / for magic beans, freedom // from our protection, from our / spurned friendship with the world.” Patty Seyburn’s neighborhood tour takes in six houses, plenty of fear and a seemingly endless appetite for more.
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Terrestrial Transmissions
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ashley brett chapman, aunspaugh fellowship, digital arts and new media, digital cultures and creativity, human being society, julia oldham, krista caballero, lydia moyer, madam x, meredith drum, museum of fine arts boston, national college of art and design, pratt institute, ruffin gallery, st. mary’s college, stephanie hough, tufts university, uc santa cruz, university of chicago, university of maryland, university of virginiaTuning to the role of the feminine in science fictions, Lydia Moyer curated Terrestrial Transmissions, an exhibition featuring video work by six artists, all women, broadcasting here.
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Commute
“The writing’s on the wall, lit morning and night.” Rattling through Philadelphia’s subterranean corridors, “haul[ing] a bagful of anthologies from place to place,” a teacher grapples at a culture that will not lift. By Sebastian Agudelo.
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Angel
“Love / Is quick and murderous, bleeding // Proof of talent,” writes Jericho Brown in this tender and terrifying poem about our violent legacies of gender and sex.
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Jim Naughten
Jim Naughten talks with Darren Ching and Debra Klomp Ching about his vision and the process behind the making of Conflict and Costume, his new series depicting the Herero people of Namibia.
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Famous Men, Real and Imagined
In an excerpt from Mr. West, Sarah Blake treats Kanye as subject, muse and audience, while Jill McDonough’s “Oh, James!” makes 007 into an icon of his many eras.
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Ghosts of the Mississippi
“Their affection, any love—good or bad—had me. I was the fool for love.” Ben Miller remembers his induction into an exclusive, eccentric group of writers in the prologue to his forthcoming book, River Bend Chronicle: The Junkification of a Boyhood Idyll amid the Curious Glory of Urban Iowa.
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Superstition Freeway
“A tired voice we don’t remember fills us/ With its story half buried and held many exits away.” Circling over familiar roads and persistent appetites, a spare, sad, beautiful new sequence from Miles Waggener makes room for ghosts.
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from In a Landscape
“We’re both happier this way, making these things/ real, because someday we won’t be.” Pulling meaning from contingency, John Gallaher composes a heartbreakingly sweet essay in verse.
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Snapshot
“Our stories delight us intensely, yet often fail us, or come to an end.” An excerpt from The Beauty Experiment, a new memoir by Phoebe Baker Hyde.
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Leaving the Image
In search of something other than an image, Lily Kuonen shakes up the painting, discovering a new space for play in the shake-up.
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Anamnesis
“I cover it with a variety/of cloths, on which I like/to watch the material world/settle: leaves, dust,/the wings of flying insects.” G.C. Waldrep tells the story of a man and his machine, harnessing memory, appetite, and imagination.
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No More Chatter
“We grew up without fear, and that taught us we deserved happiness. Now we couldn’t unlearn.” A funeral and a break-in are at the center of a new story by Willie Davis.
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Elegy with Television
Haunted by the sense that there could be “some molten soul inside/the finite ways skin rides the bone and bone/pulls skin across it,” Peter Campion composes a beautiful and intricate elegy led on by appearances.