Morry Ajao

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

Headshots of Jenna Grace Sciuto (left) and Nathaniel Ian Miller (right)

Jenna Grace Sciuto (left) and Nathaniel Ian Miller (right)

NATHANIEL IAN MILLER has always been intrigued by northern spaces, a link that connects his acclaimed first novel, The Memoirs of Stockholm Sven, to his latest work, Red Dog Farm. Red Dog Farm is a wonderfully engaging coming-of-age tale about a young Icelander named Orri and his relationships with family, friends, and the farm where he was raised. Miller’s ability to write characters—whether human or animal—that are, in his words, “emphatically (and believably) themselves,” is a unique strength. JENNA GRACE SCIUTO discussed the book with Miller, touching on what writing about northern spaces enables in his novels, his influences (Icelandic and more broadly), and the versions of himself that have gone into this story.

Northern Spaces, Idiosyncratic Characters, and the Beguiling Icelandic Landscape: Jenna Grace Sciuto interviews Nathaniel Ian Miller
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Dispatches from Søgne, Ditmas Park, and Temple

By JULIA TOLO 

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

Søgne, Norway, July 8, 2018

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

I don’t translate, don’t want to
repeat those thoughts
in any language

but we have a nice time
there’s a cheesecake with macerated peaches
and mint

the sun is low and through the window to my grandma’s house
the heavy lace curtains are catching the light

Dispatches from Søgne, Ditmas Park, and Temple
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Yellowed Pages from the Front

By ALEXANDRA LYTTON REGALADO 

Excerpted from Drownproofing and Other Stories, a finalist for the Restless Books Prize for New Immigrant Writing 2025.

 

Dr. Rafael Améndarez
San Francisco, California, United States of America

July 14, 1968

Srita. Liliam Améndarez
San Salvador, El Salvador, Central America

Greetings my always dear cousin, Lili!

Last week I was discharged from the hospital, and considering my life’s current hustle and bustle, just in case, I’ve decided to congratulate you in advance for your birthday. Congratulations a thousand times on that auspicious August 9.
A few days ago, by accident, I came across a letter among old and musty papers. One of those things one keeps without knowing why. Things that are stored away after reading them and are not read again until that day when unexpectedly, by chance, they appear in our hands. Imagine a letter written a whopping two decades ago! Yellowed by the years. A letter from a friend. This one dates back to World War II.

At that time, I was in France with the American army. I remember it was a freezing day, bitterly cold, in January 1944. There in the French Vosges, between Colmar and Strasbourg. That winter I remember vividly because it was extremely harsh. A man could be wounded and freeze within minutes. Climbing a mountain loaded with winter clothing, weapons, and ammunition, one would sweat, and that sweat running down the face, sliding, in a moment when one stopped to catch their breath, froze into ice splinters, which could be peeled off.

For the infantry soldier, and I was one of them, bearing the constant fear of death, there would be no shelter from the elements. We slept in the open, and if a fire was lit, within seconds a veritable storm of shrapnel, the German artillery, fell upon us. I found myself huddled in a hollow or crevice in the terrain, chewing slowly on the classic K ration, which consisted of a tin of scrambled eggs with ham, two dry and very hard biscuits, a compressed fruit bar (to aid digestion), instant coffee, two cigarettes, and toilet paper.

I looked around me; a few meters away was a comrade whose name I still remember. He came from Illinois, Leonard Maynard, and was squatting quietly, defecating, and just a little further away, a corpse shattered by German bombs, completely disfigured. Still, due to the intense cold, the body did not emit the classic sticky sweet smell of the human body in decomposition, yet it was slightly swollen. Its warlike function had ended; a few hours earlier it had been a thinking being, perhaps leaving behind family; who could imagine what his last thoughts were. He was a young man, with red hair swayed by the wind. The snow-covered field was quiet. There were patches of freshly turned earth due to the blow of the explosions. The trees, conifers, felled by shrapnel, seemed cut as if by a huge razor blade.

Frankly, I’ll tell you that I remember precisely the moment, the instant when they handed me the letter. The stamp was from El Salvador. My hands, dirty and cracked from the elements and lack of hygiene, shook tremulously as they took in the message that conjured right there the luminous ether of warm lands, the distant tropics beyond the seas.

The envelope had been opened and resealed by the censor, an anonymous character who snooped into even the most intimate things. I remembered that not long ago, when we passed through Marseille, a comrade had written to his wife indicating that in that city there were thousands of beautiful prostitutes and wanting to justify his prudish position, he wrote: “Honey, you are my only love, my only one.” The censor, a good family man, located the soldier and suggested he could not compare his wife to a harlot, and was thus able to correct the error in time.

Upon opening the letter and reading its contents, I vomited. Not because of the past months’ meager and unappetizing fare, but because of lines that relayed a desperate, pathetic situation, and spoke of the destitution in which my mother found herself, and the costly medical treatment required to remove the series of tumors thickening her gut like knots along a rope. And I could do nothing to alleviate the situation.

I envisioned María Teresa, my mother, an innocent and naive woman, scarcely bordering on sanctity, fever-soaked on a horsehair mattress on a corner cot in a public hospital. My mother, who as a twelve-year-old girl, was photographed in a silk dress and wide-brimmed hat at the port of La Libertad, waving from the mahogany deck of an ocean liner headed to Europe. Her own mother, Eloisa, fell ill with tuberculosis and died before they reached the port of Cádiz. That was the end of her glory days. Mamá Eloisa’s money went to her husband, Federico. And months later, when my mother finally returned with the corpse of Mamá Eloisa to Santa Tecla, her father had already remarried the young and golden-haired Constanza, Mimi already staking claim in her fertile womb, and one year later, Carlos.

My mother was a woman victimized by her own family, her own blood. I saw her immediate family, surrounded by all the fine things that the Good Lord grants to the privileged of this world! I mentally analyzed her stepsister and stepbrother made proud by the power of Mr. Money. All their lives they reigned the fern-lined corridors of the new house, outfitted with hand-painted Italian tiles and gold fixtures, a house that Mother never lived to enjoy, as she was swiftly placed in boarding school, where the nuns of the Sagrado Corazón reprimanded her with licks from a green switch.

Papá Federico, in a constant state of alcoholic delirium, never had a backbone, and when he died, the wealth went solely to Constanza and her progeny. But Mimi and Carlos felt a moral obligation to help Mother, since a large part of their money was ill-gotten from Mamá Eloisa’s estate.

I imagined my “dear aunt” Mimi who had once affectionately embraced me, speaking ill of my vagabond father, making offers to finance my medical studies in San Francisco, which brought me turmoil when she didn’t fulfill her offer after I had left my job on the promise of her loan and then had to abandon my studies and enlist in the Army. I remembered how proudly Mimi had boasted about spending over ten thousand dollars, an astronomical figure at that time, on buying pretty little clothes. Then, her generous impulsiveness when she obnoxiously stuffed a ten-dollar bill into my pocket.

A man has his dignity, and this act was the worst offense of all. I have never accepted money as a gift. I once accepted $100 from my father and couldn’t repay him because he died. I left my home and made my way to the States with $160 as my total inheritance. But those ten dollars of Mimi’s still burn me. It was a humiliating handout. Any other object, a book, would have denoted appreciation, and for that, I would have been grateful.

I remembered my mother’s indignant, reddened face as my father held fifteen-year-old Mimi on his lap, fondling the ribbons of her dress, the pseudo-innocent girl smiling while her brother, Carlos, was distracted by my father’s gun case. Yes, my thoughts turned. My mother once rescued and paid a fine in Guatemala for my father. He was imprisoned due to a lawsuit in a whorehouse. I also remembered the scene at the Hotel Saint Francis in San Francisco, when he was awoken, drunk and naked in the hotel lobby.

My father was a being of great social insensitivity. His Great Danes consumed more meat than the entire population of Santa Tecla. His boasting of being a twenty-year-old man with the experience of a sixty-year-old. His picturesque figure dressed as a charro on horseback, with pistol and saber, I have clear in my mind. My reasoning told me from this character I could not expect the slightest help for my mother. And from other relatives, unthinkable. At a later date, I learned that vilifying and speaking ill of my father was the only way to humiliate him to send money and alleviate my mother’s situation. Temporarily, if so, because after he gambled a bag of diamonds and the title to the house where Mother and I lived, he shot a bullet into his cranium and closed that chapter once and for all.

But on the battlefield, you can imagine my desperation. The circumstances in which I found myself. Blinded. Desert the army, how? Desert, where? We must move forward. That night I went out on patrol, a sleepwalker. We ventured into enemy territory. Our footsteps muffled by the snow. The silence interrupted by the snores of enemy soldiers.

Years have passed, Lili, and I am now a tired, wasted man. Youth abandoned me many years ago. I take stock and find that those ten dollars still weigh on me, because I still have engraved in my mind the impudent gesture when Mimi introduced her handout into my pocket. Here, Lili, I must plead with you, and I know this is asking too much, to return them to Mimi. It would only be a gesture for my inner peace. Then I won’t owe them anything and thank God for that.

The only memory I will keep of them was at Mother’s funeral. You will remember that I could not attend. I had only arrived from the frontlines a few minutes earlier. I was sleepless, eyes red from holding back tears. My heart was shattered! Without asking permission, they showed up in the humble adobe house I considered my home because it belonged to my mother, violating my privacy. I was unpacking. Mimi elegantly dressed in black velvet with a pearl necklace; Carlos, in pinstripes with a black tie. In a pressing manner, rather rude, they reproached me, telling me that my place was to attend to the people who came to offer condolences. I’ll tell you, frankly, I don’t know what happened to me. I was speechless hearing the harsh voices and seeing those people insensitively stepping on letters, photographs, and memories that were scattered on the floor of Mother’s room. Under other circumstances, I would have exploded violently!

There is also a debt to Carlos that I wish to settle. I remember that Mother complained that he had spread word of his magnitude with a story claiming she received a monthly pension from him. My mother was indignant, as it was not true. I believed her and still do. At Mother’s death, Carlos paid for the coffin. On that occasion, I tried very nicely to reimburse him. Dignified, condescendingly, he refused to let me pay for something that was, in fact, very intimate, very personal, the last thing my mother would ever need in this world. At that time, I seriously considered, first, suing him in a civil court to accept the payment of the aforementioned coffin. Second, I thought of exhuming the body and taking the coffin to his residence. I didn’t do it because of you. And the last shred of dignity our last name carries.

Time has passed. I insist that I have to settle this account along with Mimi’s. The first request comes from the heart; the second from pride. You may believe these are the obsessions of a disturbed person. It may be so, but I don’t want to find myself, beyond the ether, having left my mother’s remains imprisoned by the act of a cretin, her stepbrother. My request comes from the soul. If you cannot do it, send a copy of this letter to Victoria, and if she cannot do it, to Roberto, Ricardo, or someone who understands me and I can post them the money. I leave it in your hands.

With this ever and eternal pressure, I would like to rest, but it’s not in my nature. Today, I’m finishing my second round of radiation therapy, and the surgery will happen next month.
Thanks again from your loving cousin who always remembers you.

Abrazos y besos,
Rafael

 

Alexandra Lytton Regalado (she/her) is a Salvadoran-American author, editor, and translator. Her works include Relinquenda (National Poetry Series, Beacon Press, 2022) and Matria (St Lawrence Prize, Black Lawrence Press, 2017). Her recent work has appeared in Poetry Magazine, New England Review, BOMB, AGNI, and poets.org. She is co-founding editor of Kalina Press (est. 2006), president of the board of directors of the Salvadoran Cultural Institute, and associate editor at swwim.org

Read more from the Restless Books Prize for New Immigrant Writing 2025 Finalists.

Yellowed Pages from the Front
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Read Excerpts by Finalists for the Restless Books Kellman Prize for Immigrant Literature 2025

The 2025 Kellman Prize for Immigrant Literature

This year, 2025, marks the tenth anniversary of the Restless Books Prize for New Immigrant Writing, which supports immigrant writers whose work examines how immigration shapes our lives, our communities, and our world. In honor of the anniversary, Restless Books’ unstintingly generous board member, Steven G. Kellman—whose grandparents were immigrants to the United States—has endowed the prize so that it may continue in perpetuity. As ICE and federal agents invade our cities, we hope the newly named Kellman Prize for Immigrant Literature can serve as a reminder that immigrants’ voices deserve to be heard. Anyone familiar with history knows that immigrants have always been the gravitational center of the extraordinary American experiment.

Of course, freedom is not only under siege in America, but all across the globe. As autocrats deny the rights of people in Palestine, in Sudan, in Ukraine to remain on their own land, forced displacement is happening everywhere. 

The 2025 Kellman Prize for Immigrant Literature was judged by Dinaw Mengestu, Rajiv Mohabir, and Ilan Stavans; the winner will be announced by LitHub on December 2. Please join us in celebrating the work of the following four finalists, and in holding up the power of immigrant stories to remind us of our common humanity. No one is free until all of us are free.

Restless Books


Read Excerpts by Finalists for the Restless Books Kellman Prize for Immigrant Literature 2025
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Anna Malihon: Poems from Ukraine

By ANNA MALIHON
Translated by OLENA JENNINGS 

YLANG-YLANG

in the thick halo of insects, the lamp resembles
a mature dandelion
the girl as pale as bandages incessantly conjures spells
I can’t make out the words
I am still there where there is roaring and how…
…ling
unbridled nature has undone me thoroughly
I lay like a stunned fish in the lord’s hand
and a thought about water fills a warm sea
bordering the land’s illuminated wounds
that the worms, animals and feathered messengers
visited while searching for sustenance
and instead of my arm a bamboo shoot hangs out
gathering strength
and in my hand someone has placed
the globe of this complicated world
exhaling: live
I don’t have enough strength to close my eyes in shame
or scream get away from me, I’m alone
alone I’m alone, give me back my hand
how now to overcome the grand piano’s mouth of silence
and toss a baby up to the sun
the bamboo will only be good for a flute
but I lack enough breath even for that
a tall girl with a gaze like the Mother of God
murmurs seeds of words upon the tiles
the mocking moon peeks through a hole burnt
in the tulle: time to go
and now in the cottony silence, a yellow
melody of resurrection pushes its way through
like a ylang-ylang flower
and a damaged airplane like a lost petal
returns to the sky
and the little boy with my hands embroiders the collected sounds
I exhale so loudly that the dandelion’s
circle of insects dissipates
dawn…

 

[IT FELT LIKE BLOOD]

It felt like blood
on the floor of the subway car,
like sticky patterns of footprints—my new identity…

It felt like someone had turned me into
a bucket of strawberries,
and forgotten about it…
And the platform like a safe haven
and the—red beginnings of love—
between heart and throat.

I woke up as if no one was shooting,
only boys wander in
one stands nearby with a pistol,
and—bang-bang!—into the void…

But suddenly not just a crater—
But a black pit in the chest.
And tiny red droplets.

I am eating one strawberry—for the sick brother,
another, smaller one—for the son,
I am eating the slightly crushed one for him
who crushed my heart over the years.
And the last one—the biggest, the shiniest—
for my father who was never a father to me.

Put down your toy death.
Go, return the sun’s face
to the longest night for me.
Here are peonies and June,
and soldiers tightly standing.
And never,
never will anyone leave you again…

 

[THE POEMS BETWEEN US GREW SHORTER]

The poems between us grew shorter
until everything unwound into a single letter
with a period
which you turned on its head
because you liked exclamatory endings…
Finally, everything went quiet.
I became still as a white shell in the Paleozoic era.
I wish I hadn’t written words, biting my lip.
I wish I hadn’t written on the water with my fingertips.
I wish I hadn’t turned circles into a delicate zero…
You destroyed my Universe, flipped, abandoned
Forgot the address
Forgot the lanterns with flames in the window
Only letters
gnaw at memory
like mice gnaw at last year’s feed sack.
Short poems come with freedom for the blind.
Long poems come with a cage for those with sight. 

 

[Purchase Issue 30 here.]

 

Anna Malihon is an award-winning Ukrainian poet and the author of six books of poetry and a novel. Her work has been published in numerous Ukrainian literary journals and translated into Bulgarian, Polish, Czech, Georgian, Armenian, and French. In 2022, Russia’s full-scale invasion forced her to leave Ukraine. She lives in Paris, France.

Olena Jennings is the author of the poetry collection The Age of Secrets, the chapbook Memory Project, and the novel Temporary Shelter. She is a translator of collections by Ukrainian poets Kateryna Kalytko (co-translated with Oksana Lutsyshyna), Iryna Shuvalova, Vasyl Makhno, Yuliya Musakovska, and Anna Malihon. She lives in Queens, New York.

Anna Malihon: Poems from Ukraine
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The Universal Set

By PEDRO POITEVIN
Translated by PHILIP NIKOLAYEV

I am myself a member of myself
and every time I search within I find
another me, mysteriously aligned,
and in that replica wherein I delve

there dwells another, and another yet,
ellipsis dots: a mammoth nesting doll
that both contains itself, containing all,
and self-inhabits, the set of all sets.

I am the madness of the grand design,
I am the limit of where reason goes,
I am the science behind metascience.

The endless universe of sets is mine,
and this includes the cheeky set of those
denying my existence in defiance.

 

[Purchase Issue 30 here.]

 

Pedro Poitevin, a bilingual poet, translator, and mathematician originally from Guatemala, is the author of six books of poetry. His work has appeared in Rattle, River Styx, The Mathematical Intelligencer, and Nimrod, among other publications. In 2022, he received the Juana Goergen Poetry Prize, and in 2025, the Premio Internacional de Literatura Palindrómica Rever. 

Philip Nikolayev is a poet living in Boston, raised in Moldova. He translates poetry from French, Romanian, Ukrainian, Hindi, Urdu, and Sanskrit. His collections include Monkey Time and Letters from Aldenderry. His collection of poems in Spanish translation by Willy Ramírez and Pedro Poitevin, Un poeta desde el balcón, has been published in Latin America.

The Universal Set
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Every Other Weekend

Winner of the 2025 DISQUIET Prize for Poetry

 

By CARSON WOLFE

The morning after I had woken to him
holding his flashlight beneath my bedsheets,

I told him I felt too sick to go to school.
It’s always confused me, why I chose

to stay in his house another full day,
waiting for my mother to finish work.

Like any other, we played chess
just like he’d taught me, and he let me win.

Something broken and unnameable
hanging between us—perhaps it is me,

writing this poem, watching myself
shrink as a ten-year-old, watching him

sacrifice another pawn. From this angle,
it occurs to me, after all these years,

that he knew I was going to tell.
And now I am afraid for that little girl.

How much easier it all could have been
had I tripped at the top of the stairs.

It must have crossed his mind
as those silent hours came to a close.

He didn’t reach over the gear stick
to rub my thigh on the drive home,

only stared out at the barriers
as we crossed Barton Bridge.

I always believed him
to be pathetic, a coward of a man,

but we pulled up outside my mum’s house
and he opened the door, let me out.

 

[Purchase Issue 30 here.]

 

Carson Wolfe is a Mancunian poet and the grand prize winner of the 2025 DISQUIET International Literary Prize. Their work has appeared with Poetry Magazine, The Rumpus, and Rattle, amongst others. Their new book Coin Laundry at Midnight is forthcoming with Button Poetry in spring 2026.

Every Other Weekend
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Ars Poetica: Getaway Car

By JEN JABAILY-BLACKBURN

Telekinesis stories are the girliest stories because they don’t stop
at The Body. They say your borders are so made up. Girlhood is more
than ovaries tossing replica moons at the feet of The Moon.
Our home address is a syntax that serpentines like a mouse
attempting to cross, unperceived, the grandest of ballrooms.
That’s us, always leaping into the getaway car of daydream,
lit up lavender & tangerine. We are dancing with our mouths
like no one is listening because no one is listening but us.
It’s the wild freedom of silly gooseness, feathers to cushion being told
you’re useless, repeatedly, while still being used for everything. It’s waiting
in the waiting room’s washed-out light thinking I am
an exhausted mine. No matter how much care you pour into it,
The Body’s narrative is betrayal. This expirational thing.
Do you really want us to end there?

 

[Purchase Issue 30 here.]

 

Jen Jabaily-Blackburn is the author of Girl in a Bear Suit and works as the program and outreach coordinator for The Boutelle-Day Poetry Center at Smith College. Originally from Braintree, Massachusetts, she now lives in Easthampton, Massachusetts, with her family. For more, find her at www.jenjabailyblackburn.com.

Ars Poetica: Getaway Car
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Faction of None

By TAMAS DOBOZY

The videos of Christmas dinner were for Mom, or so Pete said. His gift, honoring the hours she’d spent preparing the meals. But he couldn’t fool me—or her. He filmed the dinners because it got him out of eating what she cooked: the tofurkey he hated, the beet salad that made him gag, the quinoa that sparkled like a plateful of sand. Pete would rather have starved than eaten food he didn’t like, which was most food, staying skinny as a nail with the hunger he preferred, as if craving was better than sustenance, desire superior to satisfaction, and want itself his personal god.

Faction of None
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