Notes on Jessica Sequeira’s “A Furious Oyster”

Poetry Review: Sam Sax’s ‘bury it’

12.5 review of Under the Sea by Mark Leidner

The Queen’s Review: “Out of Step” by Anthony Moll

12.5 Review of Thomas Moore’s When People Die

12.5 Review of M. Kitchell’s In the Desert of Mute Squares

12.5 review of Joanna Walsh’s Break.up

Notes on “Pure and Faultless Elation Emerging From Hiding”

12.5 review of Olga Tokarczuk’s Flights

‘Writing lightly on Jeremy Fernando’ — a photo essay by Jarratt Ong

Review of Andrea Gibson’s Take Me With You

Review: Beach Rats

FICTION REVIEW: Kingdom of women

Fiction Review: A Tapas Bar with Familiar Friends

LFF17 Film Review: ‘Racer and the Jailbird’

Review: No Rainbow by Judson Hamilton

Dropping The Baby— A Review: Baby by Sara Sutterlin

12.5 Review of Christopher Brown’s Tropic of Kansas

Poetry Review: Melancolía

Film Review: God’s Own Country

Poetry Review: Two Dalton Day Books

12.5 Review of Zachary Schomburg’s The Mammother

Poetry Review: Evan Kennedy’s The Sissies

The Tracks of Our Tears: On reading Janice Lobo Sapigao’s like a solid to a shadow

Gray Market By Krystal Languell

12.5 review of Matthew Simmons’ The In-betweens

Being Physical at the Seattle Art Fair

12.5 review of Tom Malmquist’s In Every Moment We Are Still Alive

Fiction Review: Marriage of a Thousand Lies

POETRY REVIEW: Mónica de la Torre’s THE HAPPY END / ALL WELCOME