Buried on the side of I-20, covered in red maples: the Pro-Life Memorial in St. Joseph, Iowa. A stretch of fenced-in earth, speared with a thousand tiny crosses for all the aborted “children” since 1973—

Can you see the imaginary houses? The bed post? The night stand? The trail of blood / leading back to you and me?

Source text: Fascinating Womanhood by Helen Andelin, originally self-published in 1963. These erasures were composed upon pages of the mass-market paperback,…

to go is to be gone; one day quick as a ship / wreck dignified by sea, I realize I am incongruent / to the lover that has slept asleep beside me

In early April of 2022, in the second month of the Russian invasion of and war on Ukraine, Phoebe Bosché, Editor of Seattle-based Raven Chronicles Press, invited me to interview Christine Lysnewycz Holbert, Founding Editor and Publisher of Lost Horse Press, as part of her Raven Chronicles’ “Raven Talks / qaẃqs” podcast.

It seemed that porn had stunted the imaginations of most men. Their conception of sex was tied up in keywords and surface-level descriptors.

When I was 12, dad took me to the darkroom to help him develop film. He wanted to show me the enlarger, the dangerous developer liquid, and why red light won’t react with silver salt.

The boys are dancing. They prance around the dark stage in matching white shirts, striking a pose with their pale arms and pale necks. Seven cookie-cutter boys toss back their hair—bangs just skimming the eyes—then bend their narrow waists, fold themselves unbelievably tight, and launch into acrobatic flips.

A headline reads: NASA warns alien life might not be fuckable. / An op-ed, hopefully.

you cannot grow faster than you can rot.

Do me a favor, brother, / what's all this about / summoning Death / for each / person to bear?

Yet DanceNotes is uninterested in writing that aims to freeze lived experience. The mission statement continues: “If notation is an instrument for comprehension, preservation, and iteration, DanceNotes is an experiment in notation dedicated to refractory, malleable, and plural knowledges, and to re-contextualized genealogies of movement.”

Back then I was taking Estazolam. It had brought along bothersome but tolerable side effects. For the whole day I was clumsy and unsteady, and at night I'd hold the tablet pack tightly, unable to stop my craving. I studied your messages in drowsiness. Zolpidem and Lorazepam were what you recommended. They might make me feel better, you said.

Science wants me / to murder every loaf of bread in cold blood while / the pastries watch, so scared of me, they unbake themselves.

Like any good flame / I tapered, acquiescing / to my extinction.

to bury a Black body / not out of respect for life / but to prevent disease // and cut the stench / and if a cross is laid on / the mound of dirt

In Let the World Have You, Mikko Harvey plays with a kind of surrealism in this collection to confront a quiet grief—it is ambiguous. It is daily.

The poor burning garbage, the captain announces. Nothing, apocalyptic.

Now, I daydream about blue light, fever, freak weather. Once, it rained in late August and for several miles I walked beside B, both of us sharing an eggplant-purple umbrella, untouching except for when she’d wander past the umbrella’s brim and I’d tug her back into its orbit, its purple bruise.

I am the woman who the writer could not earn enough money to see. He never finished the stories, nor the political articles. He never arrived on the train, we never stayed at the hotel. We were dating at a time when I hated the idea of old age. In other words, I was happy.

The refinery amid the marshland /of my earliest memories // repeats itself on the Gulf—

a moon the size of Neptune / rising from the green muck like ectoplasmic / crossfire.

Let us recognise “dad bod” as another / crystallization of sexism.

They asked me where I wanted / to put my missing watermelon. / Not the watermelon but the missing / of it.

Throughout my father’s life, people often described him as a sage or clairvoyant, a blind man who could see beyond the visual.I was seventeen when I noticed the pattern. When an admissions officer at a small liberal arts college called me in for an interview, she spotted my dad and his dog in the waiting room.

The books feel farther apart on my nightstand; the tub has shouldered open, wide enough now for two; space seems to have grown between the sugar and creamer on the breakfast table, and despite the silent chess game Renée and I play with them as she reads the paper and drinks cup after cup of coffee—the cream now advancing, now slinking back in retreat—I somehow can’t bring them together.

Listen up! We’ve been getting our asses handed to us out there, and there’s no end in sight. I’m the best shot we’ve had at taking opposing bases down and reclaiming the map—until you showed up. Maybe we’ll stand a fighting chance. But that’s up to you and how well you handle that phaser.

I am writing myself / into the mother of this poem

Blood, unruly emotions, and intense relationships are at the heart of work by both the US author Chloe Caldwell and the Ecuadorian Gabriela Ponce.

Fresh from the ER, I drove round a parade / ground empty but for peepal trees and a row // of slumbering buses.

i don’t want to ___________________ about this.

Pain is uninteresting to everyone except the person who experiences it, and even then, the appeal wears off. I became bored by my own pain, afraid that I was becoming irrelevant, ceasing to exist. Who was I if I could not teach, could not parent, could not write? Pain makes a very poor companion, and rather enjoys maximizing presence so that no one and nothing else can occupy your time. I worried about Stockholm Syndrome: was I making nice with my pain or simply getting used to him?

As a child, I drank black goo made from herbs so bitter it tasted like the earth. Mother taught me to / chase it with Haw Flakes, pink candy shaped like coins. Mother taught me to swallow many moons.

he can't sort mail or carry / library books to his car. he can’t give the tiny disco / ball dangling from his rearview mirror a spin.

The 1967 song written by the enigmatic David Bowie famously dramatizes a call and response between Ground Control and Major Tom, except that we don’t know whether the call goes through, and we don’t know whether the response is actually a response.

If she emptied her hands / of this weight, my face / would fall from the ground, / scattering below her feet again.

I am your faceless someone bored/ / horny/mobile/available on a Tuesday afternoon/ / your memory taking root inside tighter skin

Two hands pluck me from a river, / and unfold my pages to the sun.

The patient registration form wants to know about me. I leaf through its fourteen stapled sheets. There are lines for writing, boxes for checking and tables for completion of a story. Printed carefully, please.

“Why must everything come to an end?” wonders a bit of sentient stomach bacteria in Yuri Herrera’s new story collection, Ten Planets. “Why had it begun to begin with?”

In the realm of literary translation, few names resonate as strongly as Alex Zucker. With his extensive body of work encompassing Czech fiction, plays, subtitles, song lyrics, essays, poems, philosophy, and art history, Alex has firmly established himself as a prolific and versatile translator.

Inside his backpack at Yale Law School, as he aimed to become a public defender, 17 years after being imprisoned for a carjacking he committed at age 16, poet Reginald Dwayne Betts kept a sheaf of handwritten letters penned by an executed man named Glenn McGinnis. Some letters began with poems.

Jesus Christ let me get a witness / on my grave I don’t have a dollar / I barely even own my name.

After something like this, the rabbi told me, there are no good answers.

Source text: Fascinating Womanhood by Helen Andelin, originally self-published in 1963. These erasures were composed upon pages of the mass-market paperback,…

When someone asks me what I do for a living, I give a different answer every time.

In your next life, you plan to be an animal / impenetrable by a knife.

Reading Tamas Dobozy recently has been like hearing the chime of an antique clock in a crowded internet cafe.

The art cinema was a few blocks away from the lake, he wanted to take her there. She assented. He bought her a maple creamie and he licked his black raspberry with his thick tongue. They waited on the dock as the sun began to set.

Mom says a white deer means blood is coming. When I sleep, the forest floor is a lake of red, no matter if the deer are white or brown. A gunshot sounds.

Shelly is fifteen years old, and she is alive today. Shelly is only sometimes alive. Sometimes she is dead.

super impose me neon, berry-tinged / fingertips left smudges across everything I touched.

The other day I received my first offer for term life insurance (how are corporations so prescient?), which has the effect of reminding a man he’s going to die, just as a baby has the effect of reminding a man that if he dies, it shouldn’t be for nothing.