Octave gives an interview from jail, finally getting the chance to express his vision for the future of art!

Love makes you a stranger to yourself, and the best any of us can hope for is someone good and kind willing to catch you from that existential fall.

Looking forward to something happening: Apparently not!

El pasado no desaparece en el presente sino que trona hacia el olvido junto con él. El presente es supuesto por el pasado, incluso si no es el futuro que el pasado tenía en mente.

Beautiful and mysterious in the extreme, Chernicoff’s poems are messages from the borderline offered as testimony to the thrilling precariousness of our spiritual adventure.

What will the public make of Octave and his work? With the artist in jail, Maurice goes on air to address the controversy.

Una entrevista con César Vallejo, perdida desde julio de 1937, publicada con notas de Andrés Ajens.

Our second installment of Anvil and Rose! Hermann Van den Reeck reviews five books of poetry from Lillian-Yvonne Bertram, Don Mee Choi, Natalie Díaz, Tommy Blount, and Eduardo Corral.

Caesura publica la primera parte del ensayo Traducción como Conquista de Austin Carder traducido al español por Christopher Uribe.

What dynamically distinguishes Dumas is the visionary element, where the everyday is upended by mythic moments and alternative possibilities of living and dreaming are represented.

The Pavilion of Octavisme is launched! But how will the authorities react? Will the institutions of the art world take to this new movement —or reject it as a naive fantasy?

Artists of our generation are so hopeless that they would rather wish for fascism than confront the real challenge of the present.

Chus Pato’s new work is riverine, has the eyes and flight of quick unnoticed birds, the accuracy and mystery of a viaduct.

Watt on books by Bob Arnold, Jericho Brown, Carolyn Forché, Patricia Colleen Murphy, and Fernando Pessoa.

Octave sets out his grand plan! Does the future of art belong to his Octavisme?

What’s objectionable for Lehrer is that the products of the culture industry transmit a comfortable (numbing) attitude towards reality as opposed to an “ambiguous” or “critical” one, which art formerly laid claim to.

The art that casts a critical eye towards our society in its totality, or even just employs ambiguity to inspire criticality in its viewers, is met with skepticism, if not hostility.

Art itself doesn’t need to be defended: even when it whispers fake nothings, or indulges suspicious behavior, it speaks more than any defense ever could.

Octave and Maurice are on the search for inspiration . . . where else but at the Museum of Modern Art!

These are landscapes without landscape — pure ideas of how a picture is painted, of how a landscape is formed as an image.