Technique # 1: Density. Roxane Gay is an acquaintance of mine, as you may know (though I cannot imagine…
Punching Against Poetry Cartels: An Interview with Rodrigo Toscano
By Sean F. Munro Sean F. Munro: It’s Black Friday today, and in protest, I’m boycotting spending money…
From the Archives: How to Begin: Purple Bra, Prompt as Metaphor, Hiss/Kiss/Howl of Dogs, of the Falling Clouds, (roiling, roiling…), Sarah, by Sean Lovelace
Happy birthday, Sean Lovelace! Celebrate by reading this Lovelace essay we published March 14, 2019! 1. Take a…
Big Other Folio: Micheline Aharonian Marcom
The current folio includes an excerpt from Micheline Aharonian Marcom’s novel-in-progress, The Nothing on Which the Fire Depends, my…
Draining the Sea and the Simulation of Trauma, by J. S. DeYoung
“Draining the Sea was less about exploring character and more about how in language trauma sustains itself and manifests.…
A Conversation with Micheline Aharonian Marcom
The conversation was conducted by email correspondence over the period between January 15 and March 15, 2018. Shushan Avagyan: You…
“All War Is Deception as Is All History”: Structure and Time in The Daydreaming Boy, by Jeffery Renard Allen
The aesthetic and thematic concerns of Micheline Aharonian Marcom’s layered and contradictory novel The Daydreaming Boy hinge on a…
Rapture, a Bull-Hook, a Puzzle, by Rikki Ducornet
Focused on fearless inquiry into the Armenian genocide of 1915–1923, Micheline Aharonian Marcom’s Three Apples Fell from Heaven is…
The Language of Discontent, by Lisa Gulesserian
Two separate events spurred the fierce discontent that compelled Micheline Aharonian Marcom to write her first three novels—a trio…
What You See Is What You Don’t Know: Thoughts upon Entering and Exiting Micheline Aharonian Marcom’s The Brick House
Micheline Aharonian Marcom’s The Brick House deliberately and evocatively disrupts easy summary and interpretation, inviting instead multiple, open-ended impressions…