My earliest memory of Po-Po is her cooking: the thick aroma of beef and bok choy wafting through our old kitchen, and the sight of her tightly permed semi-afro through the steam gathering over the stovetop. After dinner, she would humor me as I tried to teach her English. I never had much success, but I remember her nodding and smiling along as I read my favorite picture books to her.
I wonder at the little dead lady on my carpet. I found her as I was picking up tissues from the floor of my bedroom, underneath the bed, lying on her back like a lentil. I had an urge to put her in my mouth, but then I remembered that she must be the same one that was crawling around my room in September. I had identified with the little lady, indecisively flitting around the room, landing on the white plastic blinds, walking along there for a while until she came to what she thought was the end of the earth, and beyond that the buttery yellow fabric of my curtains: heaven, for a bug.
How am I supposed to know that? Maxwell thought. He didn’t go to Escher Middle School or the Dalí Institute like the rest of them. He hadn’t learned underivatives or nonce poetry or taken any anti-rhetoric! Frustrated, Maxwell scrawled “Why don’t marshmallows have bones?!” for the first question, and for all the rest he drew faces with tongues sticking out.
While my husband frantically searches the house for his misplaced eyeglasses, I watch Marie Kondo fold socks, then stockings, then a sweater into neat little rectangles. They look like origami handbags. In her signature white jacket, the Japanese tidying expert instructs viewers to stroke each garment. She says, “Send the clothing love through your palms.” She runs her hands gently down both the sleeves and the body of a fluffy, white sweater, and my skin tingles.
I consider myself a painter who photographs. I had given up on painting about ten years ago since I didn’t feel I could authentically express what was mine to express. Then, about eight years ago, I fell into photographing what I came to call my “magical landscapes.” These images came almost effortlessly and opened up worlds I never imagined. I credit this experience with giving me the courage to explore the real world. During the last five years, I have traveled around the world twice for extended periods of time. I tend to perceive now that most every landscape has the potential to be a magical landscape, given the right lighting and composition.
A police siren echoes through the valley as a yellow bird I’ve never seen before glides into view from behind the mountaintops. The bird makes a sharp outline against the blue sky as it floats downward in loose, lazy zig-zags, almost too close to the treeline.
Then it’s three years since—since displacement then it’s flesh on foil and planks spilling out oilcloth remnants—then we are formless, but choosing berries wisely on the dirt strand watching a man carve nipples out of cypress—watching him swell—
Holy men pitched tents
on my grandmother’s farm land.
They trickled into 1975 fed by
an ancient spring, while everyone else
drove downtown in Ventura Coupes;
sat in dark theatres terrified by Jaws.
Khaleel GhebaGIANT POSSUM DRAWS CROWD IN NICETOWN From the west, a swell arrives with pomp, its wet regalia slaps my windowpane. I want to die so very much tonight. Not for want of love or peace, but for a slow…
His smile is a Spanish quarter, lopsides us down
Campania street inclines, dodging grime bullets.
Cerussite silk plunges down to nothing;
our stems swing steps in atomic tangerine
to highlight a something which nonne wag
their fingers at from melon stands, flag shops.
First inning. The summer had been hot, so goddamn hot, and of course Bill’s air conditioner had kicked out last night, and wouldn’t you know it, his landlord was on vacation, so he had slept—or rolled around, really—in a river of his own sweat. The restless night had cost him sixty-one minutes—a negative seventy-one for the three hours of sleep and a plus ten for the sweaty rolling—but, honestly though, he wouldn’t have minded if the life watch strapped to his wrist on his burnt arm had said something like five minutes because here he was in the stadium, in the sun, with his bald spot sizzling like a fajita, his back on fire from the heavy red bag of peanuts slung across his shoulder, his throat burning from chanting into the humid air, “Get your peanuts, here! Large bag of peanuts!”
Named after a 19th century British novelist by his professor father he was a boy I’d never noticed until we were grown and his mother told me he was far from home in his first real job and lonely I should write she said and so our seduction began with letters by two people who knew how to write them then emails then phone calls where he’d hold the phone up to Louis Armstrong playing on the Victrola he’d bought instead of paying rent
Scrapped leaves, the orange the gold the crimson,
scratch along, clump, stop. Crumble. Rot.,
Blow off where it all blows. Aaannd are gone.,
Goes, too, the wide green tight green ends in,,
frou-frou for debleaking (Ablur? Ablur),
stark stonescapes that never otherhow were.,
They did not believe us at the station.
The voices weighing us as we stood
naked in the south wind,
the branches above in screech mode.
a scream from behind the wall.
In a neighborhood in the north of Copenhagen, there is this cemetery, though really it’s more of a park.
The locals go on walks there, have picnics, drink in the shade. In the summer, the evenings are cool and infinite here, as though coming from afar, because Denmark is a Northern country. I happened to walk through the cemetery on exactly such a summer evening and so the two have become linked in my mind, the evening and the cemetery, along with a quiet sense of dread which is in essence what I want to tell you about here.
Patricia Hartlandwhere we come from tiny springs meet the red red sand the sea we built our little huts of buoys of tern wings and of jelly fish purple perfectly in a pool in the belly of the spade we…
It was really dark and it scared Billy. Really very dark. Yes, really very very—made him think of when he was young and every time he turned off the light to go to sleep started remembering ghost stories. Every ghost story he’d ever read or heard or, well, just every one and his sock feet would hit the floor and his hand would hit the light switch and they didn’t go away, the remembered stories, but they settled, soft in his mind and it was okay again.
I'm waiting for you in Paris. Waiting in the Champ de Mars, the park next to the Eiffel Tower. Standing on a patch of grass, wearing a tuxedo, and holding flowers. One among many men who wait, but they’re not like me. They stay for varying amounts of time—some holding signs, some sitting under trees—but eventually they leave. Not me. I’m here for you, Jess, waiting patiently, if not excitedly. And when you get here, we’ll embrace, and we’ll climb up the Eiffel Tower, and we’ll be together again, in love.
The summer after my senior year of high school, I worked in a donut shop selling macchiatos and breakfast pastries to young office workers in downtown Portland, Maine. I decided to get a job because my best friend Emma wanted a job and we were drunk off the prospect of making money and never having to go back to high school. We promised that the rest of our lives were going to be spent with only each other so we better start saving money so we could eventually live in Paris or New York or somewhere else far away from where we grew up.
Emily SteinbergNO COLLUSION!: A Visual Narrative Emily Steinberg is a painter and graphic novelist and has shown her work in the United States and Europe. Most recently, images from her visual narrative Broken Eggs were featured in an exhibit titled…
“Daddy, can I watch you make?”
I was following my father down our long hallway to the bathroom, pulling the cord of my toy telephone behind me. It was an old-fashioned rotary kind, with plastic wheels, a red handle, and big ogling eyes.
“Absolutely not!” He slammed the bathroom door in my face. A long, forceful stream of urine rang into the toilet bowl.
Babushka certainly doesn't remember.
Mom remembers the call, my sister doing her best to keep her composure on the other line, I just called Babushka and she was talking strangely maybe check on her? And so she put me in her car and drove into the evening, calming me down I’m sure it’s nothing and me I’m sure it’s nothing too but the two of us dashed from the elevator to her room nonetheless.
Anna March and I never crossed paths, but she and Seth Fischer did. According to the Los Angeles Times, March, who apparently posed as a writing mentor, organized eleven workshops during 2016 and 2017, including one slated for Positano, Italy. Fischer signed up and bought a cheap ticket to Italy, but two days before the program’s start, March canceled it—an apparently frequent move. Fischer and some others traveled to Italy anyway, since his ticket was nonrefundable and he figured he already had a place to stay. Wrong. Says the Times, "They learned when they arrived that no rooms had been booked for the workshop at the advertised hotel."
The translation initiative Read Russia characterizes Leonid Yuzefovich as a writer whose books “gray the lines between faction and fiction,” using historical figures and settings in his work. “Faction” is for artful historians (or for historian artists, perhaps), writers who know how to be suspicious of fictionalizing, but also know that history is never just facts. This description of Yuzefovich makes sense, since he is a historian by training and taught history for many years, but has emerged as an influential contemporary fiction writer in Russia.
The Cartoon Dialectics series collects work that Tom Kaczynski has published in anthologies since 2005. Kaczynski is perhaps best known for being the publisher of comics imprint Uncivilized Books, an independent press that has published works by Gabrielle Bell, David B., and Noah Van Sciver. As the title Cartoon Dialectics suggests, Kaczynski’s own work straddles the line between comics and philosophy; he weaves together reflections on culture and critical theory with memoir and memory.
Nathaniel Popkin, Cleaver Magazine’s fiction reviews editor, published a new novel this year, Everything Is Borrowed (New Door Books). It draws deeply from his love of Philadelphia history and his passion for research, but is also a compelling story about one person’s obsessions and regrets. In addition to the new novel, he’s the editor of a new anthology, Who Will Speak for America, author of the novel Lion and Leopard, and two books of non-fiction, Song of the City and The Possible City. We recently asked Popkin to talk to us about Everything is Borrowed.
Anna Moschovakis’ debut novel Eleanor, or the Rejection of the Progress of Love is a searching and poignant work that deftly positions itself between the unspeakable specificity of personal experience and the disturbing surplus of fungible narratives in our online world. The writing feels brave in both its formal approach and its openness to the potentially divergent conclusions it may suggest.
An Interview by Kathryn KulpaA Conversation with Melissa Sarno, author of JUST UNDER THE CLOUDS (Knopf Books) Melissa Sarno reviews children’s and young adult books for Cleaver and has just published her debut middle-grade novel, Just Under the Clouds (Knopf…
Lola Montez, the protagonist of Basic Black with Pearls by Helen Weinzweig, is a woman gripped by an obsessive, consuming passion for her married lover, Coenraad. To hear Lola tell it, this mysterious man, who works for an unspecified outfit referred to only as “The Agency,” directs her to their assignations by means of a secret code he embeds into the text of National Geographic magazine articles.
The title of Nova Ren Suma’s gripping new book, A Room Away from the Wolves, refers to its central location, but also to an unobtainable promise: a place where a girl can go to be truly safe. This novel resists easy categorizations. Not just a ghost story, not just a coming-of-age story, A Room Away from the Wolves will leave readers questioning the notion of safety in a world where the most dangerous enemy is one’s own past—and double-checking dark corners of the bedroom before going to sleep.
If Disney’s Pinocchio is an affable, pliable ingénue who was reconfigured, according to the lore, to look more like a boy than a puppet, Collodi’s is an anti-hero—a wooden thing with barely any ears who mostly can’t see beyond his own nose, no matter its current proportion. He is persistent, insistent, impossible, exasperating, willfully obtuse, a regular screw-up. You don’t have to stretch to note the parallels that dominate our news cycle. Donald J. Trump was prefigured more than 130 years ago. He was augured by a satirist who was most supremely skilled in imagining poor, and poorly curbed, behavior.
Dear June,
I am concerned because my older brother who, by the way, just turned forty, but still is sometimes clueless about women, just got engaged to someone who is not totally honest about her credentials. On her website she says she is a graduate of a really good university several states from here. I happen to know, through a friend who once lived in the town where my brother's fiancée lived, that she dropped out after her junior year and did not finish her degree. I'm concerned because she advertises herself as a life coach giving direction to other people, and she has an affiliation with a hospital, so doctors recommend patients to her. No, she does not have a master's in psychology, but she has certifications from a few institutes, the names of which I do not recognize.
ANATOMY OF A MONARCA by Antonio Lopez Emerging from the quilted cocoon of the brown monarcas is an infant who in silk immigrant dreams, vuela. His oceili eyes painted in Kahlo’s autoretrato-frontera, a horizon hued in moretones. Primed at his…
Katie Rogin’s debut novel, Life During Wartime, presents the struggle that soldiers, and their families, face adjusting back to civilian life. The story begins when 21-year-old Nina Wicklow, home from duty in Iraq, goes missing in a small town outside of Los Angeles.
Early one evening in 2001 I watched an airplane as it cut through the African sky leaving its long and distinctive vapor trail. I stood still, taking a moment to wonder what the view looked like from above. Recalling my own thoughts when traveling—arrival, the days that lay ahead, a new movie on the in-flight entertainment, the ever-shrinking leg room—I realized that few would have reason to suspect the calamity that was unfolding below.
A new novel, Mina, written by Kim Sagwa and translated from Korean by Bruce and Ju-Chan Fulton, attempts to chronical adolescences, a transformative time of life, but in the context of a world that does not condone individuality, experimentation, or choice. Through unconventional characters, a high-pressure setting, and an unapologetic directness that is both off-putting and enthralling, Kim creates an entirely different kind of teenage drama. By placing three emotional, confused young people in a world of restraint and hidden suffering, she ignites an explosion of a story that is entirely new. It does not have the charming humor of John Green or the contrariety of J.D. Salinger. Instead, it is an immensely serious and angry portrayal of a teenage breakdown.
There is a plant “whose sap produces […] microscopic animal larvae” that can consume rats “from the inside out.” It can only be found on “Thompson Island, a small landmass in Tierra Del Fuego,” within Argentinian screenwriter Roque Larraquy’s debut novel Comemadre—the name of this plant of spontaneous generation. Translated in the novel as “motherseeker or mothersicken,” this fictitious plant and its larvae symbolize the dual powers of violence to create and destroy. First as crime, then as art.
Amy Saul-Zerby’s new collection, Deep Camouflage is the manifestation of heartbreak. It is the fables that spawn from moments of empathy and melancholy. It is the conversation that a poet has with their reader. More than most poetry collections, Saul-Zerby’s is a sequence that asks to be read all at once.
I recently attended two events, one involving my niece and one involving a colleague’s spouse.
The first event was a local gymnastics meet for middle schoolers—just an informal, rec center thing. In my niece’s cohort, there were seven kids competing. My niece, who had won First Place at the previous meet, was very excited and did what I thought was a very nice routine. Anyway, it turned out that there were five awards, for First through Fifth Place, which were announced in reverse order à la Miss America Pageant, with many pauses and lots of drama. By the time they got to First Place my niece was practically jumping up and down with anticipation. When another girl won I could see her blushing and trying to hold back tears. The presenter then announced a sixth award, for a specific apparatus—and my niece didn’t get that one, either. So the result was that she in effect was told that she was the worst person competing.
Maya Aziz sees her world through a camera lens. “One thing I’ve learned,” she says, “People love a camera, and when I’m filming, they see it, not me, so whenever I need to, I can disappear behind my trusty shield.” She is often the observer, experiencing her life on the outside looking in. As the novel opens, Maya is at a crossroads: she has been accepted to NYU’s prestigious filmmaking program, but her traditional Indian Muslim parents want her to go to school in Chicago, within reach of their influence and protection.
Four children play together in a quiet neighborhood. The children are Henriette Held, the young daughter of a Jewish dentist; the Elekes sisters, Irén and Blanka; and Bálint Temes, the handsome son of the Major. Their game is Cherry Tree, in which they all sing and spin in circles, and one of the children “chooses” another, the one they love. In this innocent game, the girls invariably choose Bálint, and each girl develops her own particular feelings for the boy; when it is his turn to choose, though, Bálint always prefers Irén, the oldest and most serious of the three. This is one of the earliest memories shared by the Elekes, Temes, and Held families, who form a lifelong, tragic bond in Magda Szabó’s Katalin Street.
With quiet skill and rich description, Rupert Thomson strings the lives of two eclectic lovers through the tumultuous history of Paris and the Channel Islands during and between the two World Wars.
Whereas his previous book references artists, movements, historical figures, and myths, Jampole has made the bold choice here to work from two overarching cultural touchstones. Rather than searching for the vocabulary it shares with the reader, Cubist States of Mind/Not the Cruelest Month undertakes the creation of a new such vocabulary altogether. The result is two series of poems that sit on the edge between the particular and the universal, the everyday and the extraordinary, the true and the beautiful.
The poems in Sarah Marcus’ book, They Were Bears follow a young woman, the speaker of most of the poems, who pursues discovery and sensation in the remote corners of the American wilderness. The narrative shapes this wilderness into a wide-open expanse characterized by uncertainty, wonder, and menace. The backdrop also shifts from unpeopled natural settings to the speaker’s agricultural childhood home and to the industrial sprawl of Cleveland. The book’s three untitled segments each alternate between lyric poems and prose poems, and all use bears and other animals as central to their imagery and symbolism. Poems in the book discuss a variety of themes, including family, sexuality, and womanhood. The primary foci of the work as a whole, however, seem to be overcoming trauma and embracing nature. Together, the poems tell the story of a woman defined by her passion and resilience in the face of a harrowing past.
Martha screams and runs to the bank of the cow pond when she sees her four-year-old boy walk into the murky water. His head is submerged by the time she arrives and her husband, running from the horses, peels off his shirt and dives in. She screams her son’s name for what feels like hours to the sky doming endless Oklahoma plains.
She took the partial denture from her mouth and passed it to the boy. He’d lost two teeth in the scrum to leave the boat and even though the gum had healed it was hard for him to eat. He stared at it like it was a thing alien. She nudged his hand and, smiling, gestured with her own what to do. She was not an old woman, and so he wondered how she’d lost the teeth herself. He saw in her eyes tenderness and the knowledge of being hungry.
It was a cold afternoon in Florida. December is often occupied by a pain-in-the-ass wind, but today the air was relatively humbled. This was after I’d just finished EMT school and was nearly fifty-years-old, the alcoholism under control again. My partner was a child, a teen who wouldn’t let me listen to the radio, insisting that he play some sort of robot music on his telephone. He was hyperactive with sleep deprivation. We were on a twelve-hour shift. The cows off to our left weren’t eating grass, weren’t walking, weren’t sleeping, were just standing there with a sort of monstrous close-to-suicidal depression. My partner looked at them and penetrated the sky with a horrific fake moo.
Bloody Mary was neither skull nor naked bone.
.............Sister of blood and flesh
they said your name 3 times,
.............walked backward up the stairs,
followed you to the weed choked creek
I found hidden within the language of security in Executive Order 13780 the underpinnings of a xenophobic worldview that simultaneously aspires toward empire. In the text of the poems I sought to lay bare the underlying mechanics of power inherent such colonial impulses, and in the visuals I sought to subvert the legitimacy of claims to security from an administration compromised by foreign power. In attempting to hide the Soviet origins of the film Nebo Zovyot the American director of the retitled Battle Beyond the Sun replaced Soviet spacecraft with U.S. ones, obscured all text that appeared in Russian, and replaced the names of Soviet actors with those of English voiceover actors in the film’s credits; the screen-captured compression artifacts, the bleed through of data between the video’s keyframes and the P and B frames (usually hidden and containing only partial information from the surrounding frames), for me served as visual metaphor.
“What is the lowest number?” my daughter asked.
“There is no lowest number,” I said.
“I know,” she said. “It’s zero.”