In Her Own Words: An Interview with Chelsea Hodson

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by Nathan Go

Over coffee and pan de guava, I talked to Chelsea about her chapbook, the writing process, art and porn, living in Brooklyn, and direct sentences. I transcribed the interview, and—for a little bit of creative fun—allowed her to rearrange the answers, edit them in her writing style, and omit my questions, with the condition that the result should be closer to the heart of our discussion rather than further from it.

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Car Haunt

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by Elizabeth Dickey

In 2012, Tom and Ray Magliozzi—also known as Click and Clack, the Tappet Brothers—stopped recording new episodes of Car Talk. But by recording things, the past can play forever on loop, its actions or words unfurling as though for the first time, even when they are well past their original expiration dates.

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An Interview with Jordan Sullivan

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“I was an athlete growing up, and many people don’t associate athletics with art, but I found athletics to be a very visceral and emotional world that in many ways informed my art later on. There’s a certain intuition an athlete has and this intuition is invaluable to my creative process. Of course there’s a team in many sports and I always was drawn to more solitary endeavors, so naturally I was drawn to writing and art.”

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Benjamin Duke: A River Without Banks

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Duke intertwines lives to remind us that the multi-sensory experience can be a terribly beautiful and disastrous experience. His constructs are reflective illusions where spaces are about the body’s existence in the world, the body’s activity in the world. It is important that these are worlds that have been lived in so that pondering them we don’t feel external to them. He organizes and gives structure to different grounds through which he is positioning us. When these grounds intersect a vortex blossoms. The amplification denotes specific, important changes that occur in the physical process of creation where, in the exaggeration, lies deep significance.

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Sentimental Value

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* Lillian Li *

After my grandmother died, my mother was given all of her possessions. There was a lifetime of sentimental trinkets, of furniture that had never gone a day without its dust-protecting plastic jacket, and of strange redundancies. My grandmother left her with four refrigerators, three televisions, and twelve swatches of fox fur. My mother complained to a friend that she had no idea what to give up, what to throw away, what to burn. There was no talk of keeping.

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