Featured Artist: Devin Kenny

Devin Kenny “$ap rocky cover a capella”, 2013. Single-Channel Video “Untitled/Clefa”, 2013. Performance with Audio: A performative reinterpretation of the short-lived meme, Trayvoning (named after Trayvon Martin), which circulated through a variety of message boards and social networks. Here the artist collapses forward, and the ensuing explosion of Skittles and Arizona Iced Tea droplets proliferate. The duration of the performance is set by playing Migos featuring Drake’s “Versace Versace” song four times in immediate succession.

Poems by Ladan Osman

by Ladan Osman That Which Scatters and Breaks Apart Everywhere they turn, the walls ask, why, why not. From every space someone calls a question and there echoes so many answers, it’s impossible to hear. Save me, he calls. Open me, she calls. Divorce me. Their despair is a bird in an abandoned nest, its brother has jumped out and died, its sister is dying beside it and still it perches: Do I fly? Can I fly? You’re here because you said, I hate you instead of, I’m sorry. You’re here because you couldn’t forgive but kept on making stews and hand-washing his good socks, blowing curses into hot water.   Trouble I have a chill in my womb. I have a child in my wound. Everything is massed up. The sea doesn’t blow. The wind rivers the sea in the wrong direction. How will I get along with this man wolfing me? How will I get alone? He herd me. It never bordered me before, what I got as a regard. We used the hardest language. We cast threats. We’ll born in hell. Some of us fall by the waistside and some of us sore to the stars.

Poems by Kenzie Allen

by Kenzie Allen Determination of Racial Affinity A shapely nasal spline, rounded maxilla and that flick of a scalloped incisor, this one is Asian (in all likelihood). We can’t be certain when only bone remains, but compare ulnar length, mandibular jut, these caveats of origin. Mongoloid, Caucasoid, alternate morphs for sun-soak, overcast, sweet tilt of the sockets the way Draw Girls Around The World explained ethnic realism. Make her lips large and full, give her beautiful hips and tiny shoulders define her muscle thus. They don’t say it starts in the skeleton, in fragments of fragments and the .002 gram that could be user error or could mean your ancestors sent you down the river in a basket, nothing mentions variability and how every time you look at that skull of hers it changes, how you can’t pull off your own skin and ask your body questions. Foundational Alabaster, Porcelain, Ivoire, Light Porcelain, Light Ivory, Light Ecru, Fawn, Classic Ivory, Soft Ivory, Ivory Beige, Warm, Fair, Fair Medium, Toast, Olive, Tan, Natural, Natural Beige, Natural Buff, Pure Beige, Warm Ivory, Nude, Fresh Beige, Buff Beige, Shell Beige, Creamy Natural, Light Delicate Beige, Medium Peach, Medium Sand, Medium Almond, Buff Medium,...
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Russell Walker, by Daniel Lanza Rivers

  Russell Walker Daniel Lanza Rivers   When I remember Russell Walker, I remember him in sounds.   The tsk tsk tsk’s that escaped his lips when he was bored, and the percussion of his fingers against the countertop.   The roar of wind that filled his car as we spent that summer hunting for water—in pools and lakes, and rivers snaking inland from the coast.   The creak of his bed as he craned over the edge with sleep in his eyes to ask about my dreams.   The snap of his father’s voice, the night he caught us together in the basement and called Russell by his brother’s name.   The quiet that overtook him sometimes, like the rest of the world hung at the far end of a long corridor.   DANIEL LANZA RIVERS is a PhD student in English and Cultural Studies at Claremont Graduate University, where his research explores the relationship between landscape and utopia in twentieth-century North American literature and social movements. His writing has also appeared in Lady Churchill’s Rosebud Wristlet, Connu, and Women’s Studies: an Interdisciplinary Journal.

A Common Amnesia by Alex Cuff

By Alex Cuff   But not yet have we solved the incantation of this whiteness, and learned why it appeals with such power to the soul; and more strange and far more portentous—why, as we have seen, it is at once the most meaning symbol of spiritual things, nay, the very veil of the Christian’s Deity; and yet should be as it is, the intensifying agent in things the most appalling to mankind. –Herman Melville, Moby Dick, 1851 white butcher paper wrapping the white bagel with the white sesame seeds inside white wax paper white spray paint tagging the framing store on metropolitan before 1691 the word white did not exist white letters of Brooklyn Seoul six white people in the bagel store white napkins the white Nissan sedan parked across the street left over dirty white snow before 1691 the word white did not exist in a legal document the white help wanted sign in the bagel store window me a white girl sitting under the bright white light bulb that many things I do or do not do think or do not think say or do not say are related to this “fact” the pistachio ice cream green...
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Dollbaby, by Amarie Fox

  Dollbaby Amarie Fox   We are going back in time, locking ourselves in our little girl rooms where the walls are pink and there are daisy chains along the ceiling, just to find these sisters of ours, these versions of ourselves. Our favorite is packed in a box, banished to the back of the closet, bound with tissue paper––to hide her nakedness and headlessness. Our brothers stole her, tore her clothes off, spun her around by the hair, crying she was the witch. Off with her head. Before we can stop we are dismantling the dolls. Pulling on their perfect arms and legs, plucking body parts like flower petals, singing he loves me he loves me not he loves me he loves me not. We climb from the window, digging holes beneath the bougainvillea, making tiny graves. Thorns slice our forearms as punishment. Blood smears on the smooth plastic and it really starts to  feel like murder. Swallowing the sick down, the guilt, the shame, we hurry back inside, scramble to reattach limbs and heads, but what we end up with is not what we expect. There is no ugly assemblage of mismatching parts. No freaks. No horrible Frankenstein...
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Victoria McArtor reads from "Not the Pine Nuts" (Issue 04)

Victoria McArtor reads “Not the Pine Nuts”     Victoria McArtor lives near Oklahoma State University. She was recently named a member of The Honor Club with Mutual of Omaha. Her poems have appeared in PANK, Hobart, H_NGM_N, Tupelo Press’s 30/30 Project, and others. Her fiction has appeared in Passages North and Cease, Cows. All of the above writing appears at

The Deep, Gnarly, Ugly Kind of Truth: Against Comfortable Art

  Issue 4 contributor Migueltzinta Cah Mai Solís Pino and writer Luke Dani Blue dialog on community censorship and the problem of “invulnerable writing”.   MCS: So let’s go on the homo-holodeck for a second. LDB: OK. *makes appropriate gay Star Trek noises* MCS: OK, computer, initiate program where Luke has just published a short story in The Paris Review, she’s posted it on Facebook, everyone has Liked it. LDB: I’m digging it. MCS: Computer, Luke and I are now at a brunch with our queer friends and I am boasting to them about how great her story is and isn’t it amazing that she got into TPR. Surprise! They offer half-hearted congratulations. They only read part of it. They give Luke weird ice stares and frost-misted shoulders. LDB: Bitches. And also, yep. I know we’ve both received plenty of those looks. But it’s more than the look. It’s the ring of silence that surrounds any creative achievement/expression that isn’t packaged as a political fundraiser or consciousness-raiser. And you know, if it was one time, it wouldn’t matter. But that icing-out has infinite microaggressions. It makes me think about when I was in my early twenties and every time I’d...
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Ann DeWitt read "Old Maid" (Apogee Issue 04)

Ann DeWitt reads “Old Maid”     Ann DeWitt is a fiction writer, essayist and critic. Her writing has appeared in Granta’s New Writing, NOON, Tin House, The American Reader, Guernica, The Believer Logger,, BOMBlog, Electric Literature, art+culture, elimae, Dossier Magazine, Two Serious Ladies,Publishing Genius and The Faster Times, amongst others. Her story, “Influence,” which first appeared in Esquire’s Napkin Fiction Project was recently anthologized in Short: An International Anthology, edited by Alan Ziegler (Persea, 2014). Ann was a Co-Founding Editor of Gigantic, a literary journal of short prose and art distributed throughout the US and abroad. Ann holds a BA from Brown University and an MFA in Fiction from Columbia University School of the Arts. She teaches in the Undergraduate Creative Writing Program at Columbia and recently completed her first novel, an excerpt of which was just released in the 15th anniversary edition of NOON. She currently pens a bimonthly nonfiction column about art, literature, film, and criticism for The Believer, called “Various Paradigms.”