Online Issues
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Container, and Nighttime
art by Stefanie Becker
by Georgia San-Li
Container
Peckish she pecks to find Beauty
her Romanesque nose
her Helen
Infusing Her with her soul
her clay long-fingered hands, her hips in
such grinding agony, endured
to form and wrench his children,
with her power of catastrophe over
that object
that creature
that enemy
that human life
containing the workings of
her organs
her plasma
her monster
the umbilical cord of
her two daughters,
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Meds Yeghern
photo collection of the author
by Alexa Luborsky
History is repeating himself again. Perhaps you didn’t hear him the first time.
He tries to begin anew but is parched—
as in prepared to be written on.
You give him ink, an equation to keep him sated like a translation.
There is no translation for Meds Yeghern into English.
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The Storm We Made: An interview with Vanessa Chan (MFA ’21) and an excerpt from her debut novel
interview by LIT Book Editor Jonathan Kesh
Vanessa Chan’s debut novel The Storm We Made is an intense work of historical fiction built on personal family histories, with a few aspects of spy drama thrown in.
Set during the brutal Japanese occupation of Malaya during World War II, the story follows the Alcantara family as they struggle to stay together under this new regime. We quickly learn the family’s matriarch, Cecily, had collaborated in secret with Japanese forces, driven by a desire to see her country freed from British rule alongside a growing fascination with an enigmatic spy named Fujiwara.
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I Heard Her Call My Name: An interview with Lucy Sante
interview by Vicky Oliver and Charlotte Slivka
Lucy Sante has had a long and decorated career as a chronicler of the arts and their environments. From her books including Low Life, Evidence, and Kill All Your Darlings and the pages of the New York Review of Books, she has amassed a devoted readership of her criticism and cultural commentary, assiduously sharp and brimming with curiosity. But for a long time, while in pursuit of artistic truth, she felt unsure of her place, eventually coming to understand that she was evading the truth of her own gender identity.
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On Language, Connection, and Peculiar Literature: an Interview with Claire Donato
by LIT Fiction Editor, Jerakah Greene
THE CULT OF CLAIRE DONATO
I first met Claire Donato through Pratt Institute, where many of my friends have studied with her. Before we met in person, I had heard dozens of stories about her teaching ethics, her fascination with poetry and literature on the internet-plane, and her ghostly Victorian style. I admit that I idolized her a bit; she is the kind of literary citizen everyone should aspire to be, a fixture of the New York literary scene, with impeccable taste in film and aesthetics (she recently curated a diptych of Bonjour Tristesse and David Lynch’s Fire Walk With Me at Roxy Cinema,
