Corazon

ISABEL CRISTINA LEGARDA
The cemetery had inhabitants, and not just those whose descendants had laid them to rest. Two old men were living on the Ordoñez plot. Next to the abandoned Llora mausoleum, a family of four had pitched their makeshift tent. As more squatters crept in, to whom the administrators of the Cementerio de Manila turned a blind eye.

Cover of "Red Dog Farm" but Nathaniel Ian Miller

Northern Spaces, Idiosyncratic Characters, and the Beguiling Icelandic Landscape: Jenna Grace Sciuto interviews Nathaniel Ian Miller

NATHANIEL IAN MILLER
Making characters emphatically (and believably) themselves, rather than contrivances, or collections of quirks, or pawns to move around, is always my goal. The same is true for animals. Too often, animals are just two-dimensional devices, used to further the plot or another character’s emotional journey. I want mine to be real individuals, with agency and idiosyncrasies.

A window on the side of a white building in Temple, New Hampshire

Dispatches from Søgne, Ditmas Park, and Temple

JULIA TORO
Sitting around the white painted wood and metal table / that hosted the best dinners of my childhood / my uncle is sharing / his many theories of the world / the complexities of his thoughts are / reserved for Norwegian, with some words here and there / to keep his English-speaking audience engaged

Book cover of The Employees

What We’re Reading: November 2025

ELSA LYONS
A book-length essay divided in nine parts, it’s a barrage of generalizations—but generalizations rendered in startlingly precise prose. Concepts that explode into cascades of images. El Laberinto is not a prose poem. But Paz, first and foremost a poet, can’t help but see words the way a poet does.

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