Excerpt from Ann Quin’s novel Tripticks, introduced by Austin Carder.

Eight poems with drawings from the chapbook Comes a Time.

Poems by Losarc Raal for Tamas Panitz’s Steak Phase

Is interactivity really the same freedom that art is supposed to help us access?

The wind howls against the trailer’s tin walls. 

“You’re not special,” he says. “You’re not the main character.”

Then who is? But he doesn’t read fiction.

“I'll begin with setting up the image…” Greg Gerke reflects on a shot in Carlos Reygadas’s Japón

Barry Schwabsky brings us Alberto Savinio's memories of the poet and painter Max Jacob.

In my solitude / I’m stripped bare, but now / you’re here too, to some degree.

“Ah, but what if we — [gestures at the ‘painting’] what if it — were to invite nonsense…embrace nonsense…produce nonsense…even mean nonsense?”

NFTs are the next stage in cultural phenomena the Caesura founding editors have been following for more than a decade.

An excerpt from Losarc Raal’s quasi-novella No Material, forthcoming from Black Sun Lit in 2023

It is full of work convinced that the world as we know it is doddering towards its end, but gives little consideration to the possibility that it is this old New Museum and old new media art, not the world around it, that has run its course.

NFTs reveal that relational aesthetics and post-internet art have always been the same phenomenon, differing merely in surface technique and taste.

Art is the vanguard of capital.

The NFT phenomenon is a social, not technological, phenomenon emerging from the new money of the 21st century — the tech sector — working out its own culture and aesthetic tastes as an alternative to the self-critical or self-defeating aesthetic culture that has been dominant since the emergence of liberal society in the 19th century.

Better a handful / of calm than / two of clutching / at the wind….

Excerpt from Jean Paul Richter’s 1797 novel Flower-, Fruit-, and Thorn-Pieces introduced by Brandon Bien.

Three poems by Rainer J. Hanshe.

It was just like the cartoons: two hands and a boot kicking the man out the door and headlong across the sidewalk into the gutter, where he landed with a sickening thud.

Excerpt from Fleur Jaeggy’s novel, The Water Statues, translated from the Italian by Gini Alhadeff & introduced by Caitlin Woolsey, with artwork by Ilona Szwarc.