An independent, ad-free leftist magazine of critical essays, poetry, fiction, and art.

  • An image of Jumana Emil Abboud's 2015 piece "A Happy Ending part II: Two Skins." The work was made with pencil, gouache, and pastel, and features an orange cat, some foliage in the center, and abstract, eye-like blotches on the right. There is also text at the bottom right corner that reads: "by the side of the road / two fingers of two hands / each experiencing touch differently / try to mimic each other try to find / resemblance traces of what they once / were, and are no more"

    In “The Stench” and “[…],” poet and translator Fady Joudah responds to recent atrocities committed by Israel during its ongoing genocide of the Palestinian people –– a genocide not only of human beings, but, as Joudah reminds us, of all forms of life in Palestine.

  • An abstract image of entangled white circles against a black background.

    Poet Kato Bisase’s “Entangled in cool” lays bare the rot and violence lurking behind the “white thirst” for Black language.

  • An abstract image of a "time warp": bright, wavy lines of yellow light burst over a dark space, perhaps the ocean.

    Palestinian Lebanese poet Randa Tawil’s “Poem for Gaza” meditates on the vertiginous experience of watching the Palestinian genocide unfold: “Time is bent,” she writes, “It has cracked open. Destiny is devouring us.”

  • Image description: an extreme close-up of a mango seed.

    Simone Reid’s poem “Haitian Revolutionist” wields the plantain and mango as instruments of rebellion that sustain Haiti’s centuries-long struggle against western imperialism.

  • A photograph of the innards of the Trans-canyon pipeline. "Trans-canyon pipeline (historic) 0301 Silver Bridge Construction" by Grand Canyon NPS is licensed under CC BY 2.0.

    In “‘Today I’ll Write about Revolution,'” poet Natalie Wee reminds us that genuine solidarity with liberation struggles in Palestine, Congo, and Sudan demands thinking beyond the confines of the nation and its “architectures of cruelty.”

  • Image of an abandoned office. "Abandoned office" by soho42 is licensed under CC BY-NC-ND 2.0.

    Poet Maryam Farnam’s “Work Sets Free,” translated from Persian by Kamran Baradaran, explores the predations of capitalism through a deep engagement with the Qur’an.

  • An image of a Chilean protestor during the 2019 estaillido social (social outburst).

    In “Poem (Sept 26, 2023),” poet and theorist Joshua Clover reminds us all that, from Palestine and Oakland to Santiago and Standing Rock, no revolutionary movement is over.

  • Protest in Tahrir Square in which demonstrators raise the Palestinian and Egyptian flags. Image courtesy Hossam el-Hamalawy CC BY 4.0 Deed.

    To mark the anniversary of the 2013 Egyptian coup, we’re honored to publish Abdelrahman ElGendy’s translation of Ahmed Douma’s poem “The Boy, Once Holy.” Imprisoned for over a decade by reactionary governments, Douma remains one of the most crucial voices on the Egyptian left and the transnational Palestine solidarity movement.

  • A beach scene.

    Poet [sarah] Cavar’s “Every Trans Suicide Is State Sanctioned Murder” is a stunning reflection on transition and the ongoing structural and interpersonal violence against queer people. [Content warning: mentions of suicide and sexual assault throughout.]

  • An image of Palestinian children and youths seeking shelter from an Israeli attack during the First Intifada, ca. 1988

    We’re honored to publish another poem by Ibrahim Nasrallah, “One Hundred Questions and More,” translated into English by Huda Fakhreddine. Written from the perspective of a Palestinian child, it asks a series of devastating questions: “Is there like here a soldier who laughs and boasts, / every time he shoots…