Search results for ""UEA Publishing Project""

Under & Over is the eighth instalment of UEA’s annual Undergraduate Creative Writing Anthology, produced by the university’s own student-run publishing society, Egg Box. Shortlisted from masses of brilliant submissions, this collection of prose, poetry, and script presents the unwavering talent of UEA’s Creative Writing students, despite the ongoing pandemic. In a time where the community of UEA’s Creative Writing course is scattered across the globe, this collective project was made possible by the School for Literature, Drama & Creative Writing and UEA Publishing Project, Ltd. As our peers continue to find a sphere of catharsis and escape in writing, we hope reading our work offers a similar experience.

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“He asks what she thinks. She says it's hard to imagine the same thing he imagines. No matter how close you are, it is impossible to get into someone else's head.”Another wonderfully varied selection of shorter stories this time featuring the tribulations of a successful filmmaker, a young couple who visit a nudist beach while on holiday and gain a new perspective, a woman who has lost her husband and an insurance salesman who finds himself obsessed with the voice of a client on the phone.

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A family prepares for Assessment. Two brothers haggle over the legacy of their parents. A computer game designer aches with curious longings. Amidst it all, sisters, heroines, rebels, lunar moths and a not insignificant number of rabbits play out their lives under the strange grips of technology, governments, corporations and the capricious planets on which we all, in our different ways, just about manage to live.This Paradise is a rare and beautiful collection of stories about people fleeing towards places or times or situations they hope might be better – trying to outrun their nature, to deny the undeniable. Written with an arresting eye for detail, a rich sense of compassion and a darkly comic understanding of the human psyche, the stories in this volume propose a series of haphazard questions, not least of which is: where do we run to when there’s nowhere left to run?

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The Bitter Roots is a novel full of evocative details of a time and place, a frank, unvarnished portrait of an America struggling with racism, class prejudice, conflicts between labor and capital, and sexual stereotypes. The Bitter Roots will appeal to fans of Norman Maclean's A River Runs Through It.

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A masterpiece of humanism, Time Stood Still recounts Paul Cohen-Portheim's years of internment in England as an enemy alien during World War One. A passionate but balanced argument against internment and its inherently dehumanizing effects.

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Hinterland is a quarterly magazine showcasing the best in creative non-fiction writing. Each issue features a stellar line-up of writing talent from around the globe: stories by established, best-selling authors as well as a host of exciting new writers making their publishing debut. Much of the writing in our latest issue relates to the body. Whether it’s addiction, illness or a coming-of-age awareness of desire, the authors featured explore how bodies can be afflicted and affected in many different ways. And in light of the recent Covid pandemic, reflections around life and mortality are inevitable, from parental time-travel through a child’s life by Jarred McGinnis (The Coward), to grief as experienced via our online lives by Joe Moran (If You Should Fail, First You Write a Sentence).Also featuring writing by Munizha Ahmad-Cooke, Laura Dobson, Edvige Giunta, Candice Kelsey, Elizabeth Norton, Ali Seegar, Richard Skelton, Michelle Spinei, Adrian Tissier, Dave Wakely and Sam Gordon Webb.

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A digital invasion, and loving a child. Life and death in the garden. Encountering another's spirit. A unique collaboration between Creative Writing students at UEA and students of Translation Studies at the University de Alcalá, Unmasked Writings/Historias desconfinadas is a series of five chapbooks mapping the emotional angles of the pandemic and giving voice to the long moments of introspection we all cultivated during the hardest months of this crisis. Each text is presented both in the original English and the translated Spanish.This is volume four, Isolated Intimacies / En la intimidad de las historias.An Evening Discourse by Soe Thet San, translated by Candelas Bayón CentiagoyaBuffet of Death by Henry Johns. translated by Julia Martínez YolbaNightwalks by Denise Kuehl, translated by Rebeca Busto Acedo and Marta Rodrigo Rodríguez

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"My name is きょうこ, Kyoko, I am Korean ... I have something important to tell you."A subtly disorienting story of reminiscences between a mother and daughter as they each in their own way struggle with the effects of the mother's encroaching dementia. As they each try to piece together the fragments of a traumatic history, through doing so they tell a wider story of Korea itself.

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"Despite the hordes of people packing the theatre that day, I can't remember a single face."An extended meditation on the world of Korean cinema, the blockbuster versus the independent artist, its trends and its characters and role in society, as seen through the eyes of a film enthusiast narrator and their interactions with those around them, each on their own journey.

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Breach by Lisa Samuels performs a vital palilalia of lockdown. Starting with the dead, with Li Wenliang, who was the first to raise the Covid alarm, the book pitches and surges in deflections, hungers, and political feeling through pandemic-as-ordinary-life. The forced changes in relations we've all suffered derange the lines, chopped likethreats ofgrocerieshands on technomaps and wild-typehost societiesthere’s a maskbetween you andevery tangi-ble growthBreach is a song of lockdown: its tragedies, absurdities, non sequitur linguistic hilarities, and nightmarish lexical distortions, presented at a perfect moment for reflection, as we each continue adjust our bodies, lives and breaths...'The first work of poetry I have read that has helped me think-feel COVID; the way it is changing the relationship between inside and out, and the personal-political metaphysics of materialism, as body, as power, and as language. A vaccine against the solitude of screen heritage, confinement, and fear, Lisa Samuels’s Breach is also a meditation on the material of contagion. In terrifyingly precise helicoid strands of words hinging and unhinging from the order of grammar, Samuels unravels in poetic nucleotides the warp and weft of our different transnational pathogens knotting into monuments at the breach of biopolitcal capitalism, from the everyday of breath as windows, to the felt rend(er)ing of our data flows, our “crypt toes”.'– Lily Robert-Foley'Written in the middle of the pandemic that broke so many of us open, Lisa Samuels’s Breach pieces together the body that the Spinoza epigraph suggests “constitutes the formal being of the human mind.” Lines and words cohabit, fragment, and trail down the page, making new meanings and associations as this book considers relations among mind, body, and human, terms whose foundations have been unsettled by the pandemic, authoritarian brutality, and intense isolation of 2020-2021. In this polymorphous text pleasure and pain coexist, “ear to ear / composite / lustening,” and each touch is haunted by the breach it must cross to meet another. If we listen with more than our ears perhaps we can peer “underneath / your skein face / doctor, nurse” and develop “ideas of what’s / sheer.” Sheered open, we might make ourselves a little more transparent, a little less masked.'– Amaranth Borsuk--Lisa Samuels works with experimental writing, sound and visual art, and relational theory in transnational life. Her many books include Tomorrowland (2009), Anti M (2013), Symphony for Human Transport (2017), and The Long White Cloud of Unknowing (2019), and her theories of deformance, autography, and distributed centrality have wide circulation. In 2021, her novel Tender Girl (2015) will appear in Serbian translation with Partizanska Press. Breach is her first poetry book with Boiler House Press.

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Family tension. Poetry, and the trauma of casual racism. An archivist of the distant future. A unique collaboration between Creative Writing students at UEA and students of Translation Studies at the University de Alcalá, Unmasked Writings/Historias desconfinadas is a series of five chapbooks mapping the emotional angles of the pandemic and giving voice to the long moments of introspection we all cultivated during the hardest months of this crisis. Each text is presented both in the original English and the translated Spanish.This is volume one, Muted Voices/voces acalladas.Lady Time by Molly-Rose Medhurst, translated by Ana Sánchez AsenjoSilences by Michaela Vitagliano, translated by Sonia Herranz Martínez and Salomé Torres VargasUnmask Me by Denise Monroe, translated by Paula López García and Olivia Serret Sanz

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The latest volume of creative writing from the biography and creative non-fiction strand of UEA's world-renowned Creative Writing MA, from the 2020/21 student cohort.

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The latest volume of creative writing from the scriptwriting strand of UEA's world-renowned Creative Writing MA, from the 2020/21 student cohort.

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Rather a lot of things have felt On the Line this year, don’t you think? The title comes from a joke that we all fell in love with, and that we felt fit this collection fantastically. This is a celebration of all the fantastic work that our members at UEA's Creative Writing Society have done in spite of - and because of - everything. We hope you enjoy reading it as much as we did creating it.

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The UEA MA 2020 Scriptwriting Anthology presents an exciting look at the next generation of stage and screenwriters from around the globe. These writers have creaed a varied array of truly original work, tackling innovative story structures and dramatic techniques, pertinent and timely issues and a whole world of themes. Graduates of the MA in Scriptwriting include Bruntwood and BAFTA winners now blazing their own trails in TV, film, radio and theatre. This anthology features a foreword by recent graduate Tilly Lunken, as well as an introduction by course convenor and renowned playwright, Steve Waters.

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Segments is the first official publication of writing by the members of UEA’s Creative Writing Society.One of the university’s most active and popular societies, CWS strives to unite students from across the university over a love for excellent writing. With the support of Egg-Box Publishing, CWS presents the very best of members’ work: an eclectic mix of prose, poetry and a little bit in-between

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In Hinterland Issue 3 we publish, with huge pleasure, the pieces that won the Hinterland Prize 2019: Anna Lachkaya’s beautifully evoked account of immigrant girlhood, Megan Holland’s story of grief and becoming, and Dani Redd’s other-worldly roam across a remote Scandinavian island. Inside a stunning cover, created exclusively for Hinterland by artist Rebecca Pymar, is an outstanding line-up of new creative non-fiction plus all our great regular features, including the award-winning poet George Szirtes in conversation with his daughter Helen Szirtes.

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'Absolutely the most important book of our era.' Virginia Woolf Textual Non Sense is mischievous, minimalist, and revolutionary: a short fuse intended to spark a fundamental re-thinking of how we engage with notions of canon. Classic texts are mangled, quotes are mis-attributed, and great authors are misidentified as Robert Crawford brings literature and chaos theory together in a romance made on Tinder. William Shakespeare of the School of Literature and Bookmaking introduces a survey of writers' struggles. John Buchan provides his guide to writing a best-seller (blotting paper plays a key role). Professor Mike Foucault employs Big Data to investigate the new discipline, ‘Creaticism', or 'Critive Writing.'Humour and literary criticism tend to go together like apples and arsenic. Textual Non Sense argues that humour is an essential corrective--a missing ingredient to a cure for the arthritis and calcification of academic literary criticism. ‘I just can’t wait for the American edition!’ Emily Dickinson

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Archive Fevers offers a new generation of psychologically-engaged readers a playful queer/feminist interpretation of Jaques Derrida’s Archive Fever (1995). Through its creative critical form, the book demonstrates the unconscious life of research while interrogating the often misunderstood, overlooked or misrepresented landscape of individual gender-queer experiences of therapy. Utilising the framework of experimental narrative fiction, Blake elucidates Derrida’s concept of archive fever, Freud’s seminal concept of the death drive and Avita Ronell’s concept of haunted writing. The relationship between anthropology, psychoanalysis and surrealism during the early 20th century is examined throughout. Surrealism, though shunned by anthropology and psychotherapy, asserts an urgent contemporary usefulness. The role of technology in psychotherapy comes under necessary scrutiny, the ever-chainging backdrop of a global pandemic adding yet another layer of relevance to current phsychotherapy practice. The resulting narrative brings to the fore the bizarre, messy, disturbing, sometimes gruesome aspects of archival and ethnographic research that are usually left out of formal accounts.

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Sissy is an hilarious romp of epic proportions, encompassing in its burlesque scope our modern crisis of masculinity, the banality of City work, our retreat into virtual lives and the alienating effects of modern technology, with lots of variegatedsexing in-between. Sissy is an anti-hero and antidote to Don Juan. He is a modern masculine counterweight and sad manifestation of the internet-induced fright of the real: a thirty-something wimp by day – literally and surreally re-born ofhis long-suffering mother each morning – and a would-be-Weinstein by virtual night. The novel’s brilliant overall set piece is a virtuosic attack on the notion of the male Romantic Hero and it is written, appropriately, in a language that is rich andflamboyant; enjoyably, hilariously, baroque but also an extraordinary reclamation of the narrative epic form for ‘now’.Ben Borek is unique: no-one else writes like this, or can write like this. His vision is unflinchingly dark but also, almost inexplicably, obscurely warm and deeply humane.

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A young woman delves into the circumstances of her mother’s death ahead of her own marriage, interrogating a woman who witnessed her mother’s death and would later come to play a crucial role in her life. An exploration of the human (in)capacity for (self-)deception and knowledge, the story offers a nuanced portrait of contemporary (Korean) social mores. As with all Cheon’s work to date this beautifully crafted story places women at its core, and explores form and genre (in this case epistolatory) while subtly weaving into the text a deep interrogation of social issues.

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Throughout these stories, Maartje Wortel plays an ingenious game with her readers. Small events have major consequences, while the major events fade into the background. Her stories are alienating and completely logical at the same time, chaotic and orderly, funny and loud – all written in her characteristic idiosyncratic prose.

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Returning to her archetypally ‘fresh and clear’ (Faithful) nonfiction, Mountain is a moving and memorable autobiographical account of a young woman making a trip to the mountains she visited so often as a child. Now grown and with her partner, past and present collide to create an impressive consideration of love and childhood, nostalgia and hope. Never before published in any language, this will also be Hofstede’s English language debut.

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A schoolboy is in his senior year when he attends Comiket, a comic market in Tokyo. There, he meets a married woman ten years his senior, a cosplayer who goes by the name of Anzu. Drawn to his resemblance to a character from an anime series, he and Anzu begin an intense affair. Over time, he becomes increasingly wary of his relationship with Anzu, but, at the same time, he finds himself unable to leave her.Barton's translation masterfully captures the witty, boisterous tone in which Kubo writes, rendering for us in English the inner thoughts of a teenage boy growing up in Japan. Dealing with themes of sex, fertility and the female boy, Mikumari explores the complex relationship between private desire and popular culture in modern times.

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The latest anthology of undergraduate writing from the University of East Anglia, a university renowned the world over for its creative writing programme.

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A collection of essays and other texts by eleven internationally acclaimed writers, critics and artists.Over a decade after his death W.G. Sebald remains a major presence in world literature. He has a devoted readership in many different countries. This lively and accessible collection offers a series of different illuminations on why Sebald’s work continues to fascinate. Follow Ali Smith as she gets loosed in the translation of his work. Discover with Robert Macfarlane the arguments for and against Sebald’s reputation. Find out from Will Self why British readers might find him a "good German". Think with John Coetzee about the recurrent psychological crisis that haunts Sebald’s imagination. These are just a few of the many discoveries, insights, and imaginative responses that this collection offers its readers. This is the book that readers of Sebald, new or old, need to take with them as they journey through his work. It speaks of and to the different experiences involved in reading Sebald, whether responding to the relation between word and image, or the question of what can and cannot be remembered, or the resonant character of voice and voices, or the strange networks and connections that make up Sebald’s texts. And then there are personal memories by Tess Jaray of working with Sebald, Tacita Dean's own version of Sebaldian connectedness and an enigmatic memorial by Richard Long.The book is edited and has an introduction by Jon Cook, a Professor of Literature and Director of the Centre for Creative and Performing Arts at the University of East Anglia, who was for a number of years a friend and colleague of W.G. Sebald.

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The University of East Anglia is proud to announce its new anthologies of work from the prose (including life writing), poetry and scriptwriting strands from their world-renowned creative writing MA. UEA 17 Poets Anthology 2012 carries a foreword by Pure author Andrew Miller, and an introduction from Lavinia Greenlaw and George Szirtes.Over the decades, the course has produced many successful, well-loved and prize-winning authors, such as Ian McEwan, Tracy Chevalier, Toby Litt, Kazuo Ishiguro, John Boyne, Susan Fletcher, Joe Dunthorne, Anajali Joseph, Sam Byers – step inside for an exciting glimpse of names that might soon be among them."The interaction of such different voices has helped each to become more distinctive, more its own." Lavinia Greenlaw"No house-style, no ready-mades, simply original thinking, original writing from an exciting set of individual voices." George Szirtes

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With a foreword by Costa Prize-winner, Andrew Miller, the UEA Creative Writing Prose Anthology 2012 showcases over 30 talented new writers from the Prose and Life Writing courses. Over the decades, the UEA course has produced many successful, well-loved and prize-winning authors, such as Ian McEwan, Tracy Chevalier, Toby Litt, Kazuo Ishiguro, John Boyne, Susan Fletcher, Joe Dunthorne, Anajali Joseph and Sam Byers."In years to come, when some of these writers are household names, this book will allow you to say, with total superiority: 'I preferred their early stuff.'" Joe Dunthorne, author of Submarine"Thoughtful prose... provocative stories that stay in the mind, extracts from novels that make one long for the finished book. Read them and sample the future." John Boyne, author of The Boy in the Striped Pyjamas"The UEA is a supportive community, a creative muse and a fertile ground... to grow the best crop of new writers each year. Sample and enjoy this season's produce."Jeremy Page, author of Salt and The Wake

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The world-renowned UEA Creative Writing MA presents a selection of new poets. Founded in 1992, course tutors and students have included Owen Sheers, Kathryn Simmonds, Denise Riley, Andrew Motion, Ben Borek, Lavinia Greenlaw, George Szirtes, Matthew Hollis, Adam Foulds, Hugo Williams, Daniel Kane, and Anthony Thwaite. Buy this to glimpse the future of new poetry in Britain and further afield."No house-style, no ready-mades, simply original thinking, original writing from from an exciting set of individual voices." - George Szirtes

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Todd, Randy, and Carter are teenagers, grammar school boys who come across a younger boy while roaming the countryside around their commuter town. They decide to hold him hostage in a small cave in an abandoned quarry and then consider what to do next. In Lord of the Flies, William Golding needed a plane crash and a tropical island to bring out the capacity for violence and evil in his English schoolboys. Jane White, a mother and housewife living in Godalming when she wrote Quarry , needed only a chance encounter in fields not unlike those around her own development.Quarry is among the most unsettling novels of its time. White’s teenaged kidnappers ride bikes, worry about exams, and have to get home in time for supper. Yet they also imprison and torture another boy with the cold calculating objectivity that Hannah Arendt called “the banality of evil.” Written in cool, realistic prose, Quarry creates a situation that seems fantastic and too horrifying to be true yet sustains an atmosphere of normality that only increases its power to shock. It is both a gripping and believable account of a crime and a parable filled with complex symbolism. “Nothing since A High Wind in Jamaica probes the depths of innocence with such terror and finesse as Jane White’s novel,” declared Newsday.

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This remarkable Brazilian novel has been garlanded with multiple awards and accolades since its initial publication, as Desesterro: the prestigious Sesc Prize for Literature, the Machado de Assis award and the Jabuti award. The story follows four generations of female characters as they navigate the hardships of life in the parched landscape of the Brazilian sertao. Male figures are peripheral, but are also revealed as the origin of much of the suffering in the novel, generating for the women a kind of exile not only in relation to the land but to their sense of self. This is a ground-breaking feminist work, a bracing modernist fable, of sorts, formally reminiscent of A Girl Is a Half-formed Thing.

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An unnamed narrator visits her friend, the girl who is getting married, in her apartment on the fifth floor of an anonymous building. With each flight of steps, the narrator recalls different memories of the time they have spent together their time in high school, their first jobs, a chance encounter on the train. However, just as the building's corridor twists and turn toward the flat, we realise that the story, too, is shifting under our feet. As details go missing and memories are contradicted, we are left wondering whose eyes we re looking through.

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The Untouchable ApartmentKandagawa's relationship with Mano ended over four years ago, which is why she's surprised when he calls her, drunk, to tell her that their old apartment has been knocked down. As they walk through the city, Kandagawa relives moments of their relationship and questions their decision to be apart. Lose Your Private Life Waterumi Yano is a successful young novelist, her books winning prestigious prizes and the hearts of readers all over the world. However, Waterumi is herself a fiction, a penname for the 28 year old Terumi Yano, a woman struggling to hold on to her identity as she is increasingly recognized by her loved ones as Waterumi.A GenealogyA fable-like retelling which broadly sketches the evolution of mankind and ends with Kandagawa, sitting in a bath in her apartment, remembering how, in the past, she used to be a fish.

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Introduced by Sophie Robinson, this collection from the most recent cohort of the renowned UEA Creative Writing MA, brings together young poets from all over the world. Together their work weaves a unique and intimate portrait of modern life.

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This collection of five subtly wrought stories from Amatmoekrim brings her short fiction into the English language for the first time. Ranging from the speculative ‘Jacques d’Or’ to the radical ‘De Radicaal’, this collection is a journey through Amatmoekrim’s pre-occupation with what kind of world we are creating. Her often cheerful and entertaining writing is threaded with threatening undertones, creating a haunting effect on the reader.

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Introduced by James McDermott, with a foreword by Alice Nutter, the 2024 MA Scriptwriting cohort presents the full spectrum of comedy, tragedy and everything in between.

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Open the cover of this book and step into nine different worlds. Journey to 1990s Belarus, where nothing and no one is quite as they seem and the stakes couldn’t be higher; walk the plush corridors of a global chemical company with an obituary writer trying to untangle a mystery rooted in a twenty-year-old disaster; navigate the byways of Europe’s criminal underworld with a truck driver drawn into the poisonous orbit of a corrupt billionaire and his manipulative wife; follow a petty criminal and a rookie cop into the shadows of a storied Irish wood that holds the secrets of their shared past; visit a south coast town where a psychotic killer forces strangers to make the most heart-breaking choice of all; visit a women’s prison where rough justice is the order of the day for a police officer convicted of murder and drug trafficking; stalk a seafront stage with a Blackpool showman as he shapes and reshapes the narrative of his daughter’s most inexplicable act; flip through the pages of the most twisted self- help book ever to take the world by storm; or meander through a verdant Irish garden where flowers run riot, secrets lie buried and death is never far away.

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When Jane marries the elderly grocer William Chirp, she thinks she has moved up into the comfort of middle class. Instead, she discovers that William exerts a control over her life that forces her to live like a prisoner. His tight fistedness and suspicions so affect Jane that even after his death, she finds herself trapped in a penny pinching paranoia and resorts to scavenging for food out of garbage bins and taking her silverware with her everywhere in a shopping bag. Utterly forgotten for over 80 years, neither the book nor its author are mentioned in any history of 20 th century English literature. Yet Trevelyan is arguably the finest novelist of the generation to follow Virginia Woolf and William’s Wife is one of the most powerful psychological portraits in all fiction.As a story about a woman at the mercy of a domineering and abusive husband, William’s Wife is a novel still resonant and relevant in today’s world. Even more, it’s one of the most effective accounts of the onset and experience of mental illness, of a paranoia and miserliness that gradually takes over Jane Chirp’s life and leads her to move to ever more cramped and dingy flats where she surrounds herself with her belongings like a besieged hermit.

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An anthology of reviews produced in collaboration with special educational needs children studying at Hewett Academy, Norwich UK.

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A classic English novel rediscovered after 85 years With an introduction by Rachel Hore and an afterword by Brad Bigelow. A panoramic view of English life from 1919 to 1936, TWO THOUSAND MILLION MAN-POWER is no wistful, nostalgic account of this time. Instead, Gertrude Trevelyan shows how even the brightest and most able personalities can be ground down by economic highs and lows and a system in which individuals quickly disappear into crowds and statistics. One year, Robert and Katherine are enjoying the consumer comforts of a radio, a car, a house in the suburbs. The next, they are struggling to make ends meet in a tiny, squalid East End flat as Robert trudges hopelessly into London each day in hopes of finding work. The result is a savage portrait equaled only by George Orwell's The Road to Wigan Pier. TWO THOUSAND MILLION MAN-POWER follows Robert, a chemist, and Katherine, a schoolteacher, through two tumultuous decades in English history. From New Year's Eve 1919 to the funeral of King George V in 1936, they experience youthful radicalism, economic boom and bust, comfortable middle-class life in the suburbs and grinding poverty and the debilitating experience of looking for work where there is none to be found. Gertrude Trevelyan sets their story against the backdrop of newspaper headlines, radio broadcasts and advertising slogans, contrasting the promises of progress and technology with the brutal effects of economic upswings and downturns. The result is one of the finest fictional portraits of English life in the 1920s and 1930s--the equivalent for England of John Dos Passos's epic, U.S.A.. Utterly forgotten for over 80 years, Gertrude Trevelyan is finally being rediscovered. The stylistic and imaginative daring of her fiction arguably makes her one of the finest English novelists of the generation that followed Virginia Woolf. Fiction.

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2022 edition of the UEA MA Translation creative writing course anthology

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2022 edition of the UEA MA Biography and Creative Non-Fiction creative writing course anthology

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“...it suddenly rushed out onto the road, as if chased, and leapt straight into my arms. That is how I ended up taking it home.”An enthralling selection of shorter stories in which, among many other things besides, we encounter death as a supernatural beast-presence trapped inside a box only to escape and cause mayhem in a local village; a darkly comic fable concerning a father and his son set in a world where children take on the forms of different animals as part of their 'formal education'; and a series of micro fiction 'stations', or vignettes, recounting different scenes, characters or dreams on an implied narrative journey.

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2021/22 collection of UEA Creative Writing Society pieces.

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Writer Phillip Lopate described the essay as ‘an open-ended adventure, an invitation to doubt and self-surprise’. The essays in this special issue use the form as a platform to allow a multitude of voices to ring clear, inviting us to explore topics as varied as nature, trauma, last lines of poetry, and Esperanto.Featuring writing by Tom Bailey, Susmita Bhattacharya, Bonnie Lander Johnson, Constance Kresge, Christopher Linforth, Zachary D. Shell, Rob McClure Smith, Charlie J. Stephens, S.Y. Tam, Jack Young, and Anna Vaught

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