"I admit I have the blessing and the curse of being an extremely literal reader, but Kiik’s work overwrites those parts of my senses that are too much to-the-letter—his work helps me deviate, which is to say, it makes me a better reader and editor." —Megan Cummins
February 2, 2022 by Megan Cummins
"I’ve always been obsessed with stories about failure — myths, folklore, epics, and tragedies —and how these genres think about the fall of man. Is it our choices, chance, or fate that leads us to our lowest points? Just how does this really happen?" —Taylor Michael
May 28, 2020
"I’m deeply suspicious of the idea that people or characters can suddenly undergo deep and genuine change, or that radical change and true epiphanies are common, but I am completely faithful to the idea that there are moments when we can be profoundly shaken." —Jamel Brinkley
May 27, 2020
“Journey Along the Sea Road” was written in the thirteenth century by an unknown Buddhist monk. In these journals, published in A Public Space No. 26, a nameless traveler charts a course along the Tōkiadō—the great road linking Kyoto to Edo (now Tokyo)—and launches a new genre along the way: the literary travel journal.
April 29, 2020
May we talk about poetry and magic? Or is it passé? I have a feeling it is passé. But still I hear poets say, “I don’t choose the form. The poem chooses the form,” or “The poem speaks to me.” They say these things flatly[...]
April 1, 2014 by Jillian Weise
Do we need to make a case for fiction, you might ask. Especially if you write fiction, there may be no question, to you. But in my experience, for most of our fellow citizens, what we do is invisible, unimaginable. “I couldn’t do it,” so many people tell me. And if it is invisible and unimaginable, it is also, I’m afraid, indefensible.
November 25, 2013 by Alexander Chee
Aaron Crippen's translations of Du Fu's poems appeared in Issue 17.
For a poet, there must be no greater pleasure than reading classical Chinese. For a translator, there may be no greater challenge than translating it. For Chinese writing is unique, with its pictographic roots. Fundamentally, its words do not denote sounds, as in alphabetic languages, but objects—such as 日, the sun—or combinations of objects to express ideas—such as 明, the sun and crescent moon together, meaning “bright” or “clear.” Its curves have been straightened and standardized, but in 日 we still recognize what was once a circle, like the sun, with a dot at its center.
November 4, 2013 by Aaron Crippen
This article originally appeared on August 17, 2009.
Years ago, I became fascinated with a hotel in Portland, Maine, though I’m not sure why. The Inn at St. John is a basic hotel near the bus station, not gritty enough to explain my fascination. I’ve never been in, but pictures on the website show velvet curtains and furniture that’s meant to look Victorian. Quotes promise that it’s "comfortable and a good value" and “CLEAN!” It offers three room tiers: pet-friendly rooms, economically priced rooms for extended visits, or romantic luxury accommodations for weekend getaways. If you want any of these things, it says, the hotel is exactly what you’re looking for.
October 1, 2013 by Sara Majka