Juxtaposition and parataxis are key techniques of composition across the traditional genres of fiction, drama, and poetry. The former refers…
On the Art of Wearing Yourself Out, by Brian Kiteley
I drew maps and mazes when I was a kid. Endless maps, some very particular, some just rough outlines,…
Paw to the Paw to the Paw to the Paw, by Renée E. D’Aoust
People say dog paws smell like Fritos, but yours smell like dew, so light yet full of wet dirt.…
How to Begin: Purple Bra, Prompt as Metaphor, Hiss/Kiss/Howl of Dogs, of the Falling Clouds, (roiling, roiling…), Sarah, by Sean Lovelace
1. Take a man. Take a woman. Add a slammed door, and a heart like flash fiction (yellow diamond,…
The Road Is a Shot Glass Half-Full, by Grace Campbell
Windows lap up the rust belt, entire counties at a time. Gram’s in the seat next to me, working…
Two Essays, by Gabriel Blackwell
Discipline After a friend’s suicide, Tōson Shimazaki quit his job—teaching—in order to move to the country in order to live…
How a Poem Happens to Happen, by Brendan Lorber
You’re making a poem. But are you making the poem happen? A certain uncertainty surrounds us as we…
169 Tweets on the Nature of Possibility, by Lance Olsen
Follow most fiction-writing handbooks, and you’ll produce a well-crafted narrative that could have been produce just as easily in 1830.…
Up Against the World: Resisting Sarki in His Mewl House, by Ken Sparling
Sometimes a person writes something so completely different from anything you’re used to reading that you aren’t in a…