Communities are made of relationships not only between people but between people and places—between us and our homes, the plants that grow on the sidewalk, the basements we gather in to chat and strategize.

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

Maha’s gift is born of grief, of the fear and pain that has defined her own life, and she too is a degenerate.

The space of the imagination in all its surreality is the space in which the stories [in Bhanu Pratap’s CUTTING SEASON] are anchored.

Communities are made of relationships not only between people but between people and places—between us and our homes, the plants that grow on the sidewalk, the basements we gather in to chat and strategize.

Maha’s gift is born of grief, of the fear and pain that has defined her own life, and she too is a degenerate.

The space of the imagination in all its surreality is the space in which the stories [in Bhanu Pratap’s CUTTING SEASON] are anchored.

The real perpetrator of violence in THE BURNING PLAIN is [the] cycle of poverty and the systems that engender it. The characters in these stories are so vulnerable that their existence rests on an edge, and the smallest upheaval or change becomes magnified and topples them completely.

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.

Life doesn’t make sense to us, disastrous and uncomfortable events happen suddenly, and without warning. It only makes sense, then, that stories should do the same.

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.

I remembered almost nothing of the narrators apart from their existence. They existed for me as wallpaper . . . Still, when a friend said the same to me, I became defensive. I was convinced that Ginzburg’s was neither an artless nor an arbitrary choice, but one of subtler and more complicated mechanics . . .

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.

The following playlist is humbly submitted for your listening pleasure from Full Stop, your full service literary journal. We used to invoke the immortal and ominous words of Prince Buster, “Enjoy yourself, it’s later than you think,” but having recently moved to Scotland I’ll invoke the immortal and precise words of Linton Kwesi Johnson, “Inglan is a bitch, […]