Editor's Introduction

Introduction

My sophomore year of college, I had a job in the cafeteria dish room: scraping food off plates, stacking trays, helping the occasional panicked freshman dig through trash for a lost retainer. At the end of fall semester, I got an unexpected call from the financial aid office. The college’s professional literary magazine was looking…

Introduction

We are witnessing a war—multiple wars—whose scale and devastation are overwhelming. Every day, pictures of maimed or murdered children, carried in the arms of their grieving families, flicker on our social media timelines. Nearly every post asks the same questions: Does our suffering not matter? Who will bear witness to our loss? To lose a…

Introduction

When Lou Reed departed in 2013, I stopped what I was doing and spent a few minutes listening to “Sweet Jane” and “Pale Blue Eyes.” When I heard about Prince a few years later, I turned to “1999” and “Raspberry Beret.” These private memorials were a reflex of gratitude on my part—a small protest against…

Introduction

Some people say there are only five possible plots. A stranger comes to town, a person falls in love with a stranger, a stranger’s true identity is revealed to themselves or to others, a war is fought in a strange land, and then—full circle—a person leaves town for a strange land. There are many variations…

Introduction

In his essay “Cante Moro,” Nathaniel Mackey describes a kind of singing that has “a sound of trouble in the voice. The voice becomes troubled.” The quality he identifies here, via the Spanish poet Federico García Lorca, “is something beyond technical competence or even technical virtuosity. It is something troubling. It has to do with…

Instead of Introduction

Time doesn’t move, we move, says Tolstoy, but I am standing still in a trolley as it moves through a provincial city in the USSR—a country that no longer exists—in which two old ladies, who look just like my deceased mother, are speaking a strange mash-up of Yiddish, Ukrainian, Russian (and another language I cannot…

Introduction

On the first day of my graduate workshop, sometimes I will ask the writers to draw an undersea creature and put it on the chalkboard. They do it willingly, and some are surprisingly good artists, making convincing jellyfish and eel out of chalk. Another might draw a blob of a whale, someone makes the classic…

Introduction

In Lost Children Archive, Valeria Luiselli writes: “I suppose that documenting things—through the lens of a camera, on paper, or with a sound-recording device—is really only a way of contributing one more layer, something like soot, to all the things already sedimented in a collective understanding of the world.” I’m writing this introduction in the…