Saturnin wants his master to be an adventurer, but he doesn’t merely plan or dream: He acts on his fantasies, creating situations that force his master out of his banal existence and into the unexpected.

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

Without Eve’s disobedience, there would have been no progress, advancement, or human intelligence, and for that, in Freeley’s view, Eve deserves “a profound salaam of admiration and respect” as “the first courageous, undaunted pioneer woman of the world.”

These essays demonstrate that Roe is about far more than the rights of individual states to legislate abortion.

Saturnin wants his master to be an adventurer, but he doesn’t merely plan or dream: He acts on his fantasies, creating situations that force his master out of his banal existence and into the unexpected.

Without Eve’s disobedience, there would have been no progress, advancement, or human intelligence, and for that, in Freeley’s view, Eve deserves “a profound salaam of admiration and respect” as “the first courageous, undaunted pioneer woman of the world.”

These essays demonstrate that Roe is about far more than the rights of individual states to legislate abortion.

Market and technological forces are at the heart of Ruby’s analysis: How does poetry change in different social roles and contexts? How do different technologies and audience expectations shape poetry, and what happens when we think of poetry itself as a technology?

It’s still an open question in my mind whether writing can inspire or support good and loving actions at the scale that it facilitates and fuels evil ones.

I didn’t have a grand narrative. I didn’t have one idea of what it meant. I had many ideas of what might be happening to me, what sort of transformation this was . . . I wanted to leave room for that uncertainty and that process of making up my mind.

My grandmother’s house, which is the house in WOODWORM, is charged with strange energy. Nobody wants to sleep there alone, and it is common to have this feeling of being accompanied even if you don’t see or hear anyone.

The West might want us to think of ourselves as different and peripheral . . . they might urge us to portray images that fulfill their prejudices about Argentina, [but] we can have a more universalist approach and write, essentially, about whatever we want, and it will still be Argentine literature.

The body can guide the process of its own translation if its author will let it. An expert at adaptation, it already knows how to exist on the page.

In the end, a long-term structural operating deficit killed UArts, not a capital fundraising shell game or evil provost.

Blending a cultural story and creating something new with it can be good or bad, depending on who’s telling the story and who’s in charge of the narrative.

Failure doesn’t . . . mean we have lost or that we can’t live in a world where Palestine is free, where the Congo is free, where Hawai’i is free, where West Papua is free, and where Western Sahara is free. . . . Everything is broken, but it doesn’t mean that the horror our ancestors experienced or that we continue to bear witness to cannot be healed.

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

Get to know our 2024 Full Stop Editorial Fellows, Keely Shinners and Annalise Peters!

Full Stop invites applications for two Full Stop Editorial Fellows. These six-month fellowships invite early career writers or editors to independently envision, commission, and edit an issue of the Full Stop Quarterly.

Lately I’ve stopped looking at my father; his body is just another part of the room now, like the bed, the chair, and the window onto the maternity ward.