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by Colin Lavery
Conglomeration only seems to be accelerating . . . we need to understand how it impacts what we read and how we read it.
Big Fiction – Dan Sinykin
Conglomeration only seems to be accelerating . . . we need to understand how it impacts what we read and how we read it.
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w/ Alex Madison
Through the ventriloquist act of fiction, I could finally admit to the parts of myself and my situation that I was too nervous or scared or ashamed to see.
Christina Cooke
Through the ventriloquist act of fiction, I could finally admit to the parts of myself and my situation that I was too nervous or scared or ashamed to see.
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w/ Ravi Mangla
Unlike with a fat crime novel, where plot is king and words are more like soldiers going off to battle in wave after wave, these words are precisely chosen to maximize the spareness of the prose
K.E. Semmel
Unlike with a fat crime novel, where plot is king and words are more like soldiers going off to battle in wave after wave, these words are precisely chosen to maximize the spareness of the prose
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by Alg Giordani
[Kearse’s hero] has been hurt by the carefully constructed cruelty of capitalism and doesn’t so much want to lift the veil but set it ablaze.
Liquid Snakes – Stephen Kearse
[Kearse’s hero] has been hurt by the carefully constructed cruelty of capitalism and doesn’t so much want to lift the veil but set it ablaze.
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by Colin Lavery
Conglomeration only seems to be accelerating . . . we need to understand how it impacts what we read and how we read it.
Big Fiction – Dan Sinykin
Conglomeration only seems to be accelerating . . . we need to understand how it impacts what we read and how we read it.
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by Alg Giordani
[Kearse’s hero] has been hurt by the carefully constructed cruelty of capitalism and doesn’t so much want to lift the veil but set it ablaze.
Liquid Snakes – Stephen Kearse
[Kearse’s hero] has been hurt by the carefully constructed cruelty of capitalism and doesn’t so much want to lift the veil but set it ablaze.
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by Daniel Yadin
The drama of recent Syrian history—the reign of the dictatorial Assad family, the brutal civil war begun in 2011—plays out in the struggle of one single consciousness trapped in its gears.
Where the Wind Calls Home – Samar Yazbek
The drama of recent Syrian history—the reign of the dictatorial Assad family, the brutal civil war begun in 2011—plays out in the struggle of one single consciousness trapped in its gears.
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by Shane Burley
Jews across the diaspora . . . have been vocally demanding a ceasefire and organizing to take action. They are part of the long Jewish tradition of criticizing Israel and Zionism, which has existed as long as the idea of Israel.
Jewish Authors Critical of Zionism
Jews across the diaspora . . . have been vocally demanding a ceasefire and organizing to take action. They are part of the long Jewish tradition of criticizing Israel and Zionism, which has existed as long as the idea of Israel.
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w/ Alex Madison
Through the ventriloquist act of fiction, I could finally admit to the parts of myself and my situation that I was too nervous or scared or ashamed to see.
Christina Cooke
Through the ventriloquist act of fiction, I could finally admit to the parts of myself and my situation that I was too nervous or scared or ashamed to see.
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w/ Ravi Mangla
Unlike with a fat crime novel, where plot is king and words are more like soldiers going off to battle in wave after wave, these words are precisely chosen to maximize the spareness of the prose
K.E. Semmel
Unlike with a fat crime novel, where plot is king and words are more like soldiers going off to battle in wave after wave, these words are precisely chosen to maximize the spareness of the prose
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w/ Swetha Amit
I am inspired by writers who write their own stories without worrying how they might be received or criticized by the White audience. That’s fearless, and writing work you can stand by is essential. There is no guarantee about how well it will be received . . . Writ[e] something you are proud of, that’s my goal.
Megan Kamalei Kakimoto
I am inspired by writers who write their own stories without worrying how they might be received or criticized by the White audience. That’s fearless, and writing work you can stand by is essential. There is no guarantee about how well it will be received . . . Writ[e] something you are proud of, that’s my goal.
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w/ Katherine Packert Burke
I don’t think of transness as this ontological curse, but I remember thinking that way. Part of writing the novel was trying to undo that thinking, even as I represent it.
Isabel Pabán Freed
I don’t think of transness as this ontological curse, but I remember thinking that way. Part of writing the novel was trying to undo that thinking, even as I represent it.
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by Leora Fridman
Our complicity in capitalist transactions does not have to prevent us from learning together . . . We can let go of the increasingly stale idea that the classroom or campus is ever a pristinely objective or neutral space.
You Barely Even Work Here: On Higher Education and the Myths of Neutrality
Our complicity in capitalist transactions does not have to prevent us from learning together . . . We can let go of the increasingly stale idea that the classroom or campus is ever a pristinely objective or neutral space.
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by Martin Dolan
Ranging in scale from tiny projects by one-man development teams to titles with million-dollar production budgets, video games seem much more eager than the literary establishment to borrow and learn from other forms.
Exterior Lives
Ranging in scale from tiny projects by one-man development teams to titles with million-dollar production budgets, video games seem much more eager than the literary establishment to borrow and learn from other forms.
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by Ivanna Berrios
Over the course of a year, Maizal collected sound recordings of the wildlife and waterflow of the Andean moorlands under threat from mining, as well as interviews with veterans of anti-mining activism from the pueblo Nangali. The result is an imaginative archive and ambitious cartographic experiment . . .
Freedom Sounds and Care Practices in Anti-Extractivist Mapping
Over the course of a year, Maizal collected sound recordings of the wildlife and waterflow of the Andean moorlands under threat from mining, as well as interviews with veterans of anti-mining activism from the pueblo Nangali. The result is an imaginative archive and ambitious cartographic experiment . . .
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by Semyon Khokhlov
Separating part and whole, then, is not enough to see parts of the body differently. The individual has to be sidelined, which is exactly what non-protagonist-centered fiction achieves.
Parts of the Body in Non-Protagonist-Centered Fiction
Separating part and whole, then, is not enough to see parts of the body differently. The individual has to be sidelined, which is exactly what non-protagonist-centered fiction achieves.
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by The Editors
Full Stop stands proudly in solidarity with the people of occupied Palestine in committing to the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) guidelines.
Full Stop and PACBI
Full Stop stands proudly in solidarity with the people of occupied Palestine in committing to the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) guidelines.
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by The Editors
[This issue aims] to explore how the intersection of language, queerness, and shifting dynamics of racialization and belonging can help generate language to define oneself and to approach literary and arts criticism without centering Global North, white, male, cis-hetero standpoints.
Call for Pitches
[This issue aims] to explore how the intersection of language, queerness, and shifting dynamics of racialization and belonging can help generate language to define oneself and to approach literary and arts criticism without centering Global North, white, male, cis-hetero standpoints.
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by The Editors
What are the commonalities or differences of writing urban dis(-)appearance across continents, or in the same city across disparate works of literature?
How does literature counter brutality? Does an ideal utopian city exist across the trenches of global writing?Call for Submissions
What are the commonalities or differences of writing urban dis(-)appearance across continents, or in the same city across disparate works of literature?
How does literature counter brutality? Does an ideal utopian city exist across the trenches of global writing? -
by The Editors
We’re excited to introduce our 2023 Full Stop Fellows: Michelle Chan Schmidt and Natália Affonso!
Introducing the Full Stop Editorial Fellows
We’re excited to introduce our 2023 Full Stop Fellows: Michelle Chan Schmidt and Natália Affonso!