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Editor's Note

In the Commissaries of Hell


Professor Arecibo
Drill and Song Day
Translated from the Russian by Andrea Gregovich and Mikhail Iossel
A Time of Exchanges
Translated from the Russian by Mary Ann Szporluk


On Not Being Proust: An Essay in Literary Failure
Alberto de Lacerda: A Remembrance
Visions of Gerard
Crucibles: The Orchestration of Surprise
A Note on Steven Berg’s Rimbaud: “. . . still unilluminated I . . .”


His Knowledge of Having Done So
Against the Neighbors, Bury Bottles
The Charges Are Stalking & Arson
Skin Trade
Dark Harbor
The Last Days of Jaco Pastorius
Litany of Resistance
In Maryland
A Walk in the Morning Sun
The Thinker
À la Turka
How Graceland’s Decorator Landed the Gig
Bullied Into Thoughts About the Body & Desire at the Colorado State Fair
Two Songs About the Work of Hands
Bessie Smith’s Last Recorded Song
Andante con Variazioni
Seduction Against Exterior Pilaster, Waning Gibbous
Staffordshire Figurine, 1825
Nihilism: Eugene O’Neill at Sea
Morphine: Eugene O’Neill Remembering
Prayers for a Giant
Song for the Returns
Tell Me
Table of Contents
The Right to Slap Butts, If He Wants
The Procession
On the Milkman
The Sweet Crime of a Waltz
“On this sleepless night . . .”
Translated from the Russian by J. Kates
O You Animals!
Translated from the German by Teresa Iverson
Circular Drives
Huang’s Tao Te Ching
A Promise
Kafka Variations
Devotion: Fly
Devotion: Dub
“She says, ‘It’s bad . . .’”
Translated from the Russian by J. Kates
For R. K.
Translated from the Lithuanian by Ellen Hinsey
The Opposite Shore
Translated from the Lithuanian by Ellen Hinsey
A Sea-Change
“Afternoon. Durrant’s…”
“Perhaps it exists . . .”
Event Horizon
Just These Miracles

Voice and transformation. This issue features a deep reckoning of friendship by Roland Merullo, a recollection of a mentor by Jhumpa Lahiri, and sharp, smart idiosyncracies by Sarah Gorham and David Rivard. Playing against these are antic and bittersweet stories by Perle Besserman, Ken Kalfus, and Vladimir Makanin, among others. Here are writers marking how the self broods—broods, and then flips loss onto its turtle back; how it damns the damnable and laughs out at all that is tangled and absurd. Pilar Coover’s hallucinatory visual textures aptly counterpoint the voices, which also include those of poets Matt Donovan, Amy Beeder, Paula Closson Buck, Bruce Smith, and Derek Walcott.

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