The Chemist’s cure seems to be working…but with unintended side effects!

Jon quotes a popular maxim. German discusses its shortcomings. A tragicomedy for our times.

In a new twist on the Anvil and Rose column, Inspector Watt reviews the reviews of Dwight Garner.

Excerpt from Beatriz Bracher’s novel Antonio, translated from the Portuguese by Adam Morris and introduced by Adam Mahler.

In a visit to America’s favorite mausoleum, Octave ruminates on the role of happiness in artistic production. Is he doomed by his own joy?

The Chemist emerges! Will he be able to help Casper?

Brian Lucas writes about the life and career of Laurence Weisberg.

Herman Van den Reeck reviews books of poetry by Kerrin Mccadden, Deborah Paredez and Richard Blanco, and anthologies of Affrilachian and Conceptual poetry.

Jon apologizes to German, but is it enough?

Book 11 of Virgil’s Aeneid : translated by David Hadbawnik with illustrations by Omar Al-Nakib.

“I do want to be aware of those tensions (between academy and creativity, between ‘translation’ and ‘adaptation’), and find a way to play off them without being tortured or paralyzed by them or pulled too far in one direction or the other.”

What does it mean to identify with these characters? To find their struggles the same as my own?

Octave’s long-awaited solo show is a success…but does Octave think so?

Brave as can be, Casper shuffles into the dark forest…what will he encounter there?

The best possible description for the piece is one line from the poem by Billie Chernicoff that comes with the download: “The nothing inside of a bell, unfurling…”

Equal parts Star Wars, On the Road, Deleuzean war machine, and surrealist delirium, this poem-ever-in-progress is literature on steroids, philosophy on acid. It is scandalous, funny, erudite, and endlessly generative. It is an epic without organs.

Nathaniel Tarn’s new book of poems The Hölderliniae is a self-conscious commune with the great poets’ poet, with his life and work.

Five sonnets by Aaron Fagan

Gay and lesbian artists would be best served by curators and gallery-goers taking their work seriously as art, and rejecting the sexualized promotional copy which today passes for queer aesthetics.

German offers some words of consolation.