• by Ada Limón

    Enough of osseous and chickadee and sunflower
    and snowshoes, maple and seeds, samara and shoot,
    enough chiaroscuro, enough of thus and prophecy
    and the stoic farmer and faith and our father and ’tis
    of thee, enough of bosom and bud, skin and god
    not forgetting and star bodies and frozen birds,
    enough of the will to go on and not go on or how
    a certain light does a certain thing, enough
    of the kneeling and the rising and the looking
    inward and the looking up, enough of the gun,
    the drama, and the acquaintance’s suicide, the long-lost
    letter on the dresser, enough of the longing and
    the ego and the obliteration of ego, enough
    of the mother and the child and the father and the child
    and enough of the pointing to the world, weary
    and desperate, enough of the brutal and the border,
    enough of can you see me, can you hear me, enough
    I am human, enough I am alone and I am desperate,
    enough of the animal saving me, enough of the high
    water, enough sorrow, enough of the air and its ease,
    I am asking you to touch me.

  • by Chloe Michelle Howarth

    5/5

    I purchased a copy of Sunburn at a bookstore called Novellette in Nashville halfway through my 10-day drive to New York City, and I could not have chosen a more riveting read to accompany me. Sunburn is a devastatingly beautiful (but not necessarily unhappy!) story of first love and repression. Everything about it was just gorgeous, from beginning to end. The characters, the connections, the setting, the imagery of the golden summer sun on skin. I was extremely attached to the main character, Lucy, and I saw a lot of myself in her. I’m obsessed with the way Howarth handles the representation of internalized homophobia combined with genuine attraction and care. Lucy is so terrified of doing something wrong and of being perceived negatively by the ones she loves that it practically seeps through the page; however, it never manifests as explicit self-hatred or as anger at Susannah, which I really respect. She experiences a constant back-and-forth of her emotions, behaviors, and beliefs, and Howarth delicately represents this in a nonjudgmental and relatable way. I look forward to reading more of her work. 

  • There was a game you played as a child: 

    After swimming, lying 
    fetal on your side 
    on the hand-me-down towel, 
    she outlined whispers
    of words along your spine. 
    You never guessed right.
    You never held in your mind 
    more than a singular shape, 
    divine. 

    Can you feel it yet?

    Three letters. God? 
    Sometimes, and then
    others Satan, saint or 
    demon. Like Lot’s wife, 
    sacrificed on a whim
    to the memories of minor 
    men for whom heaven is 
    but a will to bend: rubble, 
    amen! 

    At least Eurydice had a name,

    as ordinarily mundane and
    incomplete as the 3:16s
    you prayed to, painstakingly 
    finger-painted in dirt on the 
    back of a trailer. Dust echoes
    ashes. You remember Pompeii, 
    where words froze in women’s 
    gaping mouths without 
    escape.

    Immobility by means of immutability,

    Breathless, fleeting, your 
    heartbeat sinking deeper 
    still, deeper still, until 
    the last thread of conscious 
    thought is washed up 
    like a weed against the shore, 
    pulled, retreating, and 
    returned to the spray of the 
    sea.

  • by Tove Ditlevsen

    I love you because your spirit flickers
    like a candle left by a window.
    I love you because when I think you’re mine,
    the flame blows out, and it isn’t so.
    I love you because you don’t carry on
    about wedding bells and vows and things,
    a love like ours, so fleeting and precious,
    should not be bound by any gold rings.
    For I will never darn your tattered socks
    or see you trudge about with a frown,
    and you will never find me tired and glum,
    wasting away in an old nightgown.
    No, let us meet in the very late hours,
    and dance, dance, while others are asleep.
    Let’s ask no questions, make no promises
    —for promises are not made to keep.
    You will only see me wrapped in bright silks,
    forever aglow with mirth untold.
    That way, when the time comes to reminisce,
    you’ll have a fine picture to behold. 

  • by Casey McQuiston

    4/5

    I’m a few weeks late posting my review for this one!

    I read One Last Stop at the beginning of summer, about a month before I left Austin for New York. This book is a romance, time travel novel, and love letter to the NYC public transportation system all in one, and its heavy-handed over-romanticization of the subway system is just what I needed before my big move. 

    I always prefer a romance with a non-romantic primary plot, and the time travel elements of One Last Stop did not disappoint. Jane’s trapped existence on the Q train is just mystical enough to make me desperate to know more, and, by the end of the book, is explained just well enough and simply enough to make me say “sure, why the hell not?” Don’t get me wrong—this novel is first and foremost a cheesy, sappy, romance, so I wouldn’t exactly recommend it to a family member or a snobby literary critic. For anyone else, though, I highly recommend it!

  • The shop smells like cut stems and lemon-scented Lysol. It’s one of the few places in the city that stays the same, year after year, even as the lifespan of its patrons shortens and the yellowish haze outside grows thicker.

    “Six pink carnations, six white daisies,” she says to the florist, hesitates a moment, then adds: “And some green, if you have it.”

    With the middle-aged woman distracted, she browses the half-empty rows of overpriced plants. She detaches the arm of a miniature succulent and pinches a yellow pothos stem from the vine with her fingernails. A scrawny lemon tree grows in a too-small pot in the corner, and she picks one of its shriveled green fruits, stashes the measly prizes in her shoulder bag. She watches the passersby through the dirty shop window as she waits and wonders if her gait looks as defeated as the people trudging by outside. 

    The florist returns with the requested flowers, wilted, but no worse than she expected, and rings up her order; the price has nearly doubled from the year before, just as it did the year before that. One hundred and fifty in stolen cash in exchange for an eased conscience. 

    She begins the long trek to the Island. Past the former subway entrances boarded up and plastered with sun-bleached caution tape, past the crowds of the unhoused assembling another make-shift village in Central Park. The doomsdayers on 55th pull at her shirt sleeves and beg her to take their homemade pamphlets declaring the end of the world. 

    “Jesus is coming!” an old man pleads. 

    “His mistake,” she responds. 

    The glassless windows of skyscraper shells watch as the infected and the addicts break bread with those who have given up entirely. She had considered joining them, for a while. It would be so much easier to feel nothing. Avoiding their yellowing eyes and sunken cheeks, she focuses on the bouquet in her hand and thinks of her childhood. She remembers walking these streets with her father, back when the businessmen in their thousand-dollar suits hailed yellow chauffers as they yelled to the disembodied voices on the other end of their cellphones. Those men were the first to succumb to the despair. 

    She glimpses the reflection of light on water through the dilapidated buildings and quickens her footsteps. There is always a risk the ferry won’t be running, if the operator is out sick or otherwise decides not to show up, but he’s waiting on the dock when she arrives. She pays him with a bag of canned groceries, the only currency that consistently carries weight. He holds her flowers as she steps onto the boat. 

    “Nice color. Must be for someone important,” he says, handing the bouquet back to her and starting the engine. 

    “My sister,” she says. “Pink was her favorite.” This isn’t true. Jordan hated the color pink. Everyone knows that the flowers are for the living. 

    The operator watches her patiently, as if expecting her to say more.

    “How long ago?” he asks once they’re out on open water. 

    “About six years. It was towards the beginning.”

    He nods. “My sister died around then, too. Couple years before my daughter—she was about your age.” They return to an uneasy silence, listening to the waves splash up the sides of the boat.

    “Disease or suicide?” he asks.  

    “Neither,” she says, and they do not speak again. 

    The Island had once been a reprieve from the bustle of the city, housing parks and food trucks and a few upper-class neighborhoods, but no one is left to remember that now. When its inhabitants dropped dead in the early weeks of the disease, it became a convenient place to burn their dead. A wall of placards marks the names of the deceased. 

    She sits down in front of the monument, cradling the flowers like a child. 

    “You’re still Mama’s favorite,” she says to Jordan’s nameplate. 

    She sits in silence for a while, listening to the chatter of a family picnicking at their loved ones’ memorials. 

    “I have something to tell you this time, Jojo,” she whispers. “I won’t be back here again.”  

    She clears her throat. “I know I can never undo what I’ve done. After Daddy left and Mama stopped getting out of bed…” She shakes her head and starts over. 

    “You were so small, and so weak, but you deserved a chance. Nothing I say will make up for that. But I have to move on.” She gets to her feet. A single tear drops from her cheek onto the flowers at her feet. 

    “So I won’t be back. I hope you understand.” 

    She leaves the flowers at the base of Jordan’s spot on the wall and walks away, then changes her mind and picks them back up. A few yards away, an old woman is leaning back against a blooming cherry blossom tree, crying.

    “For you,” she says, and hands the old woman the flowers. The old woman smiles at her like she doesn’t quite remember how and grips the bouquet tightly in her wrinkled hands. 

    On the ferry back to the city, the operator doesn’t try to speak to her. It’s pitch-black outside by the time they arrive and she begins the journey back to her provisional home in the basement of the abandoned Whole Foods. It’s been a long time since she was outside at night, and the city is quieter than she remembers. This would have frightened her, once, but this time it’s as if she gave her fear away with the carnations. 

    Maybe she won’t go home tonight. Maybe she’ll walk, and keep walking, until the sidewalks cut off and the roads turn to gravel and the stars emerge from the smog. Maybe, if she walks long enough, she’ll sink into the ground like the root of the old oak tree she climbed as a child, before the rot took hold, and maybe, the dirt will cleanse her sins like blood, and by the time summer comes she’ll have risen like the weeds that grow in the pavement cracks, relentless and sturdy and blissfully unaware. 

  • by Adrienne Rich

    Either you will
    go through this door
    or you will not go through.

    If you go through
    there is always the risk
    of remembering your name.

    Things look at you doubly
    and you must look back
    and let them happen.

    If you do not go through
    it is possible
    to live worthily

    to maintain your attitudes
    to hold your position
    to die bravely

    but much will blind you,
    much will evade you,
    at what cost who knows?

    The door itself
    makes no promises.
    It is only a door.

  • by Lydia Millet

    3/5? I think?

    I read Oh Pure and Radiant Heart back in February and managed to put off writing the review for several months. I’m glad I did—this was one of the most perplexing things I’ve ever read, and I feel like six months was the minimum amount of time I needed to stew on it. When I first finished it, it left a sour taste in my mouth, but the further out I get, the more I seem to remember it with fondness. I still don’t know whether I would say I actually liked it, but I do think it’s a good book.

    Let’s started with the positives: I loved the surrealist style, and the way Millet chose not to answer many of the story’s pressing questions. The unexplained time travel and magical interactions with animals added to the mystical tone of the story, and these things alone made me want to read more of her work. The satirical elements also hit home for me, particularly the overtaking of the scientists’ mission by Christian militants.

    Unfortunately, there were more things I disliked than that I liked. I hated, truly HATED, the dialogue. I found almost every line clunky and awkward, and it was hard to picture real people ever talking like how they did in this book. The formatting of the dialogue alone was exhausting and detracted from the story. It was by far one of my least favorite methods for styling dialogue I’ve ever come across. 
    The length of the novel was extreme for what it contained. Everything, and I mean truly, everything, went on for far too long. If this book have been half the length, the message would have been more effective. I never want to get to the end of a book and have my primary thought be, “well, thank God that’s finally over.” I suspect the length would have been less of an issue if the novel had wrapped up in any kind of resolving or thoughtful way, but the ending was purely despondent and left me feeling bleak about the nature of humanity. Although I’d still love to find someone else who’s read Oh Pure and Radiant Heart to discuss it with, I certainly won’t be recommending it to anyone anytime soon.

  • I’ve been thinking a lot lately about the concept of forgiveness. Who we forgive, and why, and maybe more importantly, how. If I say out loud that I forgive my father for his absence or my mother for only ever wanting a mother herself, does that make it true? Does forgiveness have to be felt to be envisioned? 

    Mostly, when I think about forgiveness, I think about August 2023: a sticky summer night, sweating over hibiscus ginger mocktails at a table at Radio Coffee. I have always run hot, I told her, and she made us switch seats so I could have the one closest to the fan. We spoke in French, in innuendo, and she held my hands across the table and said, “I don’t believe in coincidences.” 

    I wish I’d told her, “I do.”

    Her apartment, my apartment, her grey couch, her body weight on mine, my faded velvet quilt. 

    Her body weight on mine. 

    When I think about forgiveness, I think about the crying–oh, the crying–and the disgusted look she gave me, and the questions I didn’t answer, and never will. 

    “Have you never had sex before, or what? What’s your problem? We already talked about consent, didn’t we? Are you a virgin, or what? Have you not done this before? What’s wrong with you?”

    And me, open-mouthed on the bed, thinking, if she killed me now, I probably wouldn’t even mind. I’d probably let her do it. I probably wouldn’t mind at all.

    In the end, it wasn’t the thing itself, or the reversed-role stories she told our mutual friends, or the screaming in the parking lot at Cherrywood Coffeehouse the night I confronted her. 

    Oh no, no, no–the thing that almost killed me? That was the goddamn Hinge ban. 

    Everything else happened to someone else. Someone far away, in a book, on a movie screen. Everything else was a story I had heard before. Everything else was a story I could tell someday to a future friend or lover, or to myself, or to a therapist somewhere down the line. 

    I spent hours on the phone trying to talk to a representative (no one ever called me back), I wrote novels out of email drafts (met with an automated “Thank you for your feedback. We are reviewing your case”). In a fit of furious desperation, I made a complaint to the Better Business Bureau, which is there, on their website, even now. 

    I cried alone in my room, alone in the car, alone in HEBs and hipster coffee shops, alone in the apartments of friends I was catsitting for. I remember cradling a cat named Kiwi with a little kiwi charm and bell on her collar while I laughed maniacally, sobbing, “But it was me! That was me!”

    I drove for hours every day, in a loop. South down 35, up Lamar across the river, east down Airport, back to 35 down Cesar Chavez. I listened to the Front Bottoms and I cried. I listened to Stevie Nicks and I cried. I listened to sweeping orchestral symphonies from movies I forget the names of, and when the violins swelled, I shouted: “I don’t understand. I don’t understand. I don’t understand.”

    There was never really anything else to say, not anything else that mattered, not even after a year and a half of dragged-out written exposure therapy where I told the same memory of the same sequence of events over and over and over and over until it no longer felt like my story, in fact, it no longer felt like anyone’s story at all, just some jumble of nonsense on a page. 

    Nonsense. I used to tell the whole thing like I was a suspect in a crime drama, giving my statement precisely down to the last detail, desperate to prove my innocence. “Then she said this.” “Then she touched me here.” “Then she went down the stairs two at a time. She almost tripped on the last step, but she didn’t. She was just fine.”

    Two weeks after the worst second date of my life, a gay man came to stay with us. One of my roommate’s college friends. Tall, blonde, stereotypically angelic. The first thing he said when he met me was, “If I could be reborn as anyone, I’d come back as a lesbian in her 20s in Austin, Texas.” I wept, and it frightened him. I forgave him his fear. He didn’t understand, and I sure as hell couldn’t explain it to him.

    She had me blocked on everything by then, and I never heard from her again. I like to think of this as the one genuinely kind thing she did for me. I thought about her every minute of every day for the first year, and now, I’m happy to report, I rarely think of her at all.

    Except for when I’m on a first date, or a second, or I’m swiping on an app, or flirting with a pretty butch at the club, or trying on someone else’s glasses, or sitting outside at a bar, or–

    Well, anyway. 

    If you ever make it up to Oregon and you meet a girl named Claire–petite, pixie cut, curly hair–I hope you tell her I don’t mind. I don’t forgive her, not yet, but I don’t mind. If she has to drag my name through the mud, if she has to lie and lie and lie until the lie is just another version of her truth, if clinging to her switched-up story helps her sleep at night–no, really, I don’t mind. We all do what we can to survive.

    And as for me? I’ve been sleeping just fine.

  • by ire’ne lara silva

    and singing in the night singing in the days
    of want and singing in the days of plenty
    singing alone and singing with ghosts
    singing old songs and singing new songs we
    will remember songs we haven’t heard yet
    songs that haven’t been dreamt yet songs no
    one has found the words for songs sung on
    the road and songs sung in bed songs sung
    while weeping and songs sung while waiting
    songs for breath and sun and light 
    and moon and earth and water songs for 
    sustenance we will sing impossible songs 
    indecipherable songs songs that cannot be 
    heard and songs that cannot be shared 
    we will sing songs without words silent songs 
    and screaming songs songs that tremble and 
    songs we can embrace
    song and i live in 
    each other’s skins song and i breathe each
    other’s breath take refuge in each other
    passing silver fire light between each other’s lips hot and cold at once naming and un-
    naming freeing ourselves taking wing song
    and i spiraling in the sky i would like to die
    singing let there be song in my throat
    Spilling out let my last breath be song