… Of all art forms, clothing is particularly close to the self.

His hero does not fight monstrous beings, but those who marginalize him as monstrous.

Reading it feels like scooping wet snow with a large shovel on an unseasonably warm winter morning

We can’t use irony to cope with catastrophe forever.

… Of all art forms, clothing is particularly close to the self.

His hero does not fight monstrous beings, but those who marginalize him as monstrous.

Reading it feels like scooping wet snow with a large shovel on an unseasonably warm winter morning

We can’t use irony to cope with catastrophe forever.

What does it mean to have a fake novel? What does it mean to have a novel that’s thinking, aware of itself as a novel, and thinking about

While facing a totally unknown new phase of my life, I had a feeling that I should push making music. I didn’t know what would happen and I didn’t have many songs written, but I wanted to try. 

In painted portraits you can see the hand of the painter, the gestures, the point of view. All portraits are in a way self-portraits too. I wanted that to happen with this book as well.

I wanted to focus on language alone and its sheer force, uncontained by formal, philosophical, and empirical systems and thought.

In both memoirs, evidence serves less to solve a crime than to reconstruct a self—both the dead family member and the writer grappling with their loss.

For a while . . . I thought that no one should write about eating disorders at all because there was no way to do so without somehow glamorizing them.

It would be tempting, if you were a theoretical physicist working on the first atomic bomb, to imagine yourself as a demiurge. To frame the process as spiritual longing for God’s wrath . . .

Our history is in the bodies they tried to straighten, the stories they would not write, the lives they refused to archive.

The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. In

This special issue of the FULL STOP QUARTERLY will aim to hold folklore as a prism through which to view connection, the self, and the future. . . . It will explore folklore in and as literature, as process, and as performance.

In times like ours, times of fracture, depravity and upheaval—times which are really not that different than any other time on earth, except for the speed and scale at which violence is exercised—what is the value of art?

Read the introduction to our latest issue of the Full Stop Quarterly, “Literary Dis(-)appearances in (Post)colonial Cities.”