Where They Live by Nickalus Rupert

A small two-bedroom across the street from a shooting range. They’ve moved east to escape California and the wildfires that claimed two of their houses. He manages the local record store. She spends sullen afternoons doing voice work in her home studio—radio commercials and jingles, mostly. Every time he leaves home, she says, “Don’t get

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SR 72 Contributor Interviews: Lisa Chen

What is it about the genre or cross-genre you write in that interests you/draws you in? I’m drawn to forms animated by what Viktor Shklovsky called ostranenie, or “making strange”—sometimes translated as “estrangement” or “defamiliarization.” Otherwise we are lulled to stupor and blindness by familiar narratives, gestures, humors, small talk, breakfast cereals…

La Rabida Heart Sanitarium, 1954 by Maureen Langloss

The nurses forbid us from touching our feet to the floor. We were to stay in bed. So we made the tiles below a river and rode our mattresses across them like boats into dark tunnels. Sometimes we’d emerge to the other side, surrounded by mountains that flinched as we approached. Even the landmasses feared

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“Folded notes that make an arrow”: An Interview with Erin Adair-Hodges

ERIN ADAIR-HODGES is the winner of the 2016 Agnes Lynch Starrett prize for Let’s All Die Happy (University of Pittsburgh, 2017). Winner of The Georgia Review’s Loraine Williams prize, she’s also been a Bread Loaf-Rona Jaffe and Sewanee-Claudia Emerson scholar and has had work featured in The Kenyon Review, Prairie Schooner, The Sewanee Review, and more. She received her

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