“Why don’t we come to an agreement then? I’ll buy the alcohol if you finally stop working.” Hassan said as he sipped his Scotch and watched her with his psychologist’s stare. She had the uneasy feeling she was a frog in his pot, and he was slowly turning up the heat.
(fiction)
As the world began to open again, we were proud. We’d done a good job. Then you came.
(nonfiction)
Those smuggled copies of Interview and The Witching Hour that I took with me and read and reread in the suffocatingly dark and overly zealous world that was my conversion therapy experience got me from one moment to the next.
(nonfiction)
Author’s Note These pieces are part of a series of lipograms, writing that excludes one…
Meanwhile, the puppy, who, according to the book she bought, is color blind, lies in the grass and unsentimentally, methodically, stops beetles in their tracks with his paw. No ethical standards, this one. He does what he wants.
(fiction)
In New Zealand, we don’t do class warfare like the British do, although we bring it with us. Ours isn’t as refined. But it’s just as complex and many times more insidious.
(nonfiction)
I mentioned the most important aspect once we were out of the taxi and waiting for the electric-blue bus: never fall asleep. The ride’s purpose was not to get comfortable or distracted.
(nonfiction)
I’m not. I’m not going to take T, I’m not changing my pronouns or my name or anything. I’m just
getting top surgery, Mom. It’s just… it’s just a change.
(drama)
“I WANTED TO WATCH HER WITHOUT HER SEEING ME”
“BREAK TIME INTO PIECES”
(poetry)
Her keys might have opened the church, and she the one to serve sponge fingers like death.
(The Loop)
I’ve chosen to work with concrete to speak about the impulse to create permanent structures, but also to speak about impermanence, change, and loss, Ledelle Moe tells Helena Feder.
Merely archaeological, the images of strewn masks take on a symbolic meaning for America’s ambivalence towards public health.
(The Loop)
Oh, food. It is such a deft [and daft] distraction. It absolutely changes the narrative.
(nonfiction)
Hunter said she aims to “visually discuss law and society in slavery and racism through physical spaces.”
(The Loop)
A visual counterpart to our Dispatches from a Pandemic series
And I was looking for barbarians. I still am. I always am. I’ve seen so many. Haven’t you?
(The Loop)
ACM is pleased as punch that we get to publish Leanne Grabel’s work every month.
(The Loop)
Overlooked buildings on Chicago’s South Side, photographed by Lee Bey from his book “Southern Exposure”
Graphic essay mashup of an early 1950s pulp comic book and text from legendary Argentinian art collective Tucumán Arde.
(The Loop)
Another Chicago Magazine 