fiction issue

Here you’ll find reprints from both Mousse and The White Review as well as new stories and translations we have jointly commissioned. Seven interludes, intended to open up other worlds through images, feature portfolios of drawings by Atelier dell’Errore, Michael E. Smith, Camille Henrot, Michael Landy, Simone Forti, Adelaide Cioni, and Evelyn Taocheng Wang.”
The prose presented in this issue goes by many names—“fiction, autofiction, theoretical fiction, ficto-criticism, meta-criticism,” as Travis Jeppesen quipped about the “poetics of indeterminacy”1—and resists unequivocal definitions. It lingers at the corners, where the boundaries between art and writing can dissolve. It bends, and so do we while reading it. It makes us small, like the protagonist of Eileen Myles’s “Tiny.” It makes us big, much like the woman portrayed in “Ghost Story” by Pip Adam. It drives us to “Run for Our Lives” via Dodie Bellamy’s bereavement. It makes us feel seen when we don’t want to be, as Elvia Wilk writes in “Extinction Burst” of the doctors trying to “explain me to me.” It pushes us to defy who gets to be seen, “the law of ownership, the law of who owns who, which is to say, what owns what,” as Johanna Hedva calls for in “Your Love Is Not Good.”