<H1>
</H1> |
<H1>
CUL-DE-SAC
</H1> |
<H1>
PROUD
</H1> |
<H1>
WHO I AM NOW
</H1> |
<H1>
BLOOPY
</H1> |
<H1>
INTERVIEW WITH MARI KATAYAMA
</H1> |
<H1>
THIS IS WHY WE STOPPED NAMING THE HORSES
</H1> |
<H1>
WANTING
</H1> |
<H1>
WHAT’S MINE IS MINE
</H1> |
<H1>
AINU OTHELLO: THE STORY OF A PLAY
</H1> |
<H1>
INTERVIEW WITH MARI KATAYAMA
</H1> |
<H1>
POSTER BOARDS AT THE PROTEST
</H1> |
<H1>
A Very Open Letter from Donald Hump
</H1> |
<H1>
Please Confirm You Are Not in Beast Mode|Litro Lab|Podcast
</H1> |
<H1>
The Big Dream|Litro Lab|Podcast
</H1> |
<H1>
Becca| Litro Lab| Podcast
</H1> |
<H1>
Latte for my Batte| Litro Lab| Podcast
</H1> |
<H1>
Pantone 213U| Litro Lab| Podcast
</H1> |
<H1>
Sarah Waters loves WW. Jacobs The Monkeys Paw
</H1> |
<H1>
Waiting For Dark | LitroLab Podcas
</H1> |
<H1>
Robert Lloyd Parry brings M. R. James’ ghost stories to the stage
</H1> |
<H1> Newsletter </H1> |
<H2> Masterclasses </H2> |
<H3>
CUL-DE-SAC
</H3> |
<H3>
TWO POEMS
</H3> |
<H3>
AINU OTHELLO: THE STORY OF A PLAY
</H3> |
<H3>
PROUD
</H3> |
<H3>
WHO I AM NOW
</H3> |
<H3>
BLOOPY
</H3> |
<H3>
SIX POEMS
</H3> |
<H3>
INTERVIEW WITH MARI KATAYAMA
</H3> |
<H3>
A HIGH-TECH ANCIENT STILLNESS
</H3> |
<H3>
EDITORS’ LETTERS: SPRING 2021 JAPAN ISSUE
</H3> |
<H3>
THIS IS WHY WE STOPPED NAMING THE HORSES
</H3> |
<H3>
HOPELESS
</H3> |
<H3>
WANTING
</H3> |
<H3>
WHAT’S MINE IS MINE
</H3> |
<H3>
A SUNNY PLACE
</H3> |
<H3>
MARY
</H3> |
<H3>
A SISYPHEAN EXILE
</H3> |
<H3>
THE STAIRS
</H3> |
<H3>
A Flash of Inspiration: “Bad Qi” by Lucy Zhang
</H3> |
<H3>
POSTER BOARDS AT THE PROTEST
</H3> |
<H3>
BITS AND PIECES
</H3> |
<H3>
WHAT WE USED TO SAY
</H3> |
<H3>
WE’RE PROMISED RAIN
</H3> |
<H3>
MATCH THE PERSON TO THE LIGHTS THEY LOVE
</H3> |
<H3>
the sky the ground
</H3> |
<H3>
IT’S CLINICAL
</H3> |
<H3>
FAR FROM FORSAKEN
</H3> |
<H3>
KEEPING UP WITH MYSELF, KEEPING UP WITH YOU
</H3> |
<H3>
EARLY THERMAL WEAPONS
</H3> |
<H3>
THE LONELINESS ISSUE
</H3> |
<H3>
Trinkets
</H3> |
<H3>
VIETnameSE GUY AT THE NAIL SALON
</H3> |
<H3>
Necropolis
</H3> |
<H3>
CONCENTRIC CIRCLES
</H3> |
<H3>
Manhattan Schist
</H3> |
<H3>
WANDERING STARS
</H3> |
<H3>
EMILY, ANECHOIC
</H3> |
<H3>
Lemon Drop
</H3> |
<H3>
Someday We’ll Dance Again
</H3> |
<H3>
Someone to Love Me
</H3> |
<H3>
LONGING
</H3> |
<H3>
The Provision of Benches
</H3> |
<H3>
STOP MAKING SENSE
</H3> |
<H3>
FROM SOMEWHERE
</H3> |
<H3>
NO MAN’S LAND
</H3> |
<H3>
Roman Numeral Relationships
</H3> |
<H3>
A CALIFORNIAN LIVING IN NEW YORK DURING COVID-19
</H3> |
<H3>
JFK
</H3> |
<H3>
The Compass Turns Thrice
</H3> |
<H3>
ROSIE GOLDSTEIN WAS A DOG
</H3> |
<H3>
The Mothers
</H3> |
<H3>
LOVE-YOU-LOTS
</H3> |
<H3>
A Tyranny of Wind
</H3> |
<H3>
SHAMU CAM
</H3> |
<H3>
The Mist
</H3> |
<H3>
THE SNAKE
</H3> |
<H3>
The Future of Love
</H3> |
<H3>
TIME TRAVELING UNCLE
</H3> |
<H3>
Getting By, Going By
</H3> |
<H3>
THE CASHMERE CLOAK
</H3> |
<H3>
Outsider, Insider
</H3> |
<H3>
VITA SACKVILLE-WEST, LOVER OF VIRGINIA WOOLF
</H3> |
<H3>
TOMORROW I SHALL BE FETTERLESS-BUT WHERE?
</H3> |
<H3>
Sickle Claws: Hesperonychus Monstrous
</H3> |
<H3>
Momma’s a Butcher
</H3> |
<H3>
MAGPIE
</H3> |
<H3>
A Very Open Letter from Donald Hump
</H3> |
<H3>
Bad Research
</H3> |
<H3>
TOLSTOY VISITS HIS STEPMOM
</H3> |
<H3>
Twisting the Reels
</H3> |
<H3>
Van Gogh Unbound
</H3> |
<H3>
MEDUSA GOES TO MORRISONS — BY EMILIA ONG
</H3> |
<H3>
Bradley Beach
</H3> |
<H3>
Feelin’ like a Criminal: Trauma in ‘My Dark Vanessa’ through the music of Fiona Apple
</H3> |
<H3>
KEEP YOUR KNICKERS ON
</H3> |
<H3>
GLUE
</H3> |
<H3>
Unicorn Cake
</H3> |
<H3>
The Frugal Repast
</H3> |
<H3>
Hindsight 2020: Notes on the First Year of the Trump Presidency
</H3> |
<H3>
THE END OF THE 20TH CENTURY
</H3> |
<H3>
The Supplicant
</H3> |
<H3>
Lenin in the Sky
</H3> |
<H3>
Very Little like Alan
</H3> |
<H3>
The Adidas Yeezy; Or, The Self in Modern Times
</H3> |
<H3>
ON THE RECENT SERIES OF DISAPPEARANCES IN YOUR SMALL TOWN
</H3> |
<H3>
Guilty as Hell
</H3> |
<H3>
Starchy
</H3> |
<H3>
VIEW OF THE POND
</H3> |
<H3>
somewhere there is an abandoned refrigerator
</H3> |
<H3>
A CLEAN SHAVE
</H3> |
<H3>
We’ve Only Just Begun, Frankie
</H3> |
<H3>
Mr Spire
</H3> |
<H3>
THE MOST BEAUTIFUL RUINS
</H3> |
<H3>
Chippendales
</H3> |
<H3>
name HER FOR HOPE —
</H3> |
<H3>
A Legacy of Aunting in the Literary Community
</H3> |
<H3>
Catch and release
</H3> |
<H3>
ARMBARS–IOWA CITY 1995
</H3> |
<H3>
Blocked
</H3> |
<H3>
Coronavirus, or the voices to forget
</H3> |
<H3>
Neighbors
</H3> |
<H3>
AGAIN, YET AGAIN
</H3> |
<H3>
The Gun
</H3> |
<H3>
Opera at the Bistro
</H3> |
<H3>
BAD QI
</H3> |
<H3>
=
</H3> |
<H3>
Graffiti
</H3> |
<H3>
Ace
</H3> |
<H3>
Little America
</H3> |
<H3>
LIGHTING THE MATCH
</H3> |
<H3>
Good Friday, 2020
</H3> |
<H3>
Perfect Hair Day
</H3> |
<H3>
M and M
</H3> |
<H3>
And my life unfolds
</H3> |
<H3>
ARIANE
</H3> |
<H3>
Dear Galactic Living (From the Dystopian Letters)
</H3> |
<H3>
Fry Person
</H3> |
<H3>
Things Behind the Sun
</H3> |
<H3>
FISH
</H3> |
<H3>
Interiors
</H3> |
<H3>
Strange Waters
</H3> |
<H3>
Can’t You Do Something About This?
</H3> |
<H3>
IT WASN’T FOR ME
</H3> |
<H3>
When Blankoids Sing They Sound Like Elvis
</H3> |
<H3>
euphoria
</H3> |
<H3>
CUTTING TREES
</H3> |
<H3>
Blood
</H3> |
<H3>
I Want You to Know That I Was Hot Too
</H3> |
<H3>
THE “JESUS LOVES ME” PAWN SHOP STORIES
</H3> |
<H3>
Dear Rap Music (from the Dystopian Letters)
</H3> |
<H3>
Elevtheria!
</H3> |
<H3>
GOING TO THE OWLS
</H3> |
<H3>
Grafted
</H3> |
<H3>
Rawhead and Bloody Bones
</H3> |
<H3>
A Dream
</H3> |
<H3>
The Journey into Sacred Profanity: A Colorado Dance Troupe’s Mission of Empowerment
</H3> |
<H3>
Situation
</H3> |
<H3>
Mom Mazin’
</H3> |
<H3>
Dear Africa (from the Dystopian Letters)
</H3> |
<H3>
Dear Corporate State (from the Dystopian Letters)
</H3> |
<H3>
Rome Suppressed
</H3> |
<H3>
Dear Pandemic (from the Dystopian Letters)
</H3> |
<H3>
Separation
</H3> |
<H3>
Prozac and Presence
</H3> |
<H3>
Art & Technology: Spring 2020: Editor’s letter.
</H3> |
<H3>
Neighbor Cat
</H3> |
<H3>
Coming of Age on a Day of Rage
</H3> |
<H3>
The story of my first love
</H3> |
<H3>
The Road that Leads Back Home
</H3> |
<H3>
The Writing’s on the Wall
</H3> |
<H3>
Still Life
</H3> |
<H3>
Cinnamon rolls and racists
</H3> |
<H3>
A Lack of Understanding: Storytelling for Robots
</H3> |
<H3>
The Representation of Augmented Reality in Fiction
</H3> |
<H3>
Art and Algorithms: The Work of Manfred Mohr by Charlotte Kent
</H3> |
<H3>
Five-Hundred Year Anniversary: Leonardo da Vinci at the Louvre
</H3> |
<H3>
Interview with Virtual Reality artist, Rachel Rossin
</H3> |
<H3>
Interview with multidisciplinary artist Nwando Ebizie
</H3> |
<H3>
Do you love me?
</H3> |
<H3>
Neo-slavery in Italy? The Controversial Status of Africa’s Migrants in the Boot
</H3> |
<H3>
The Email that I Just Sent my Psychiatrist was a Tour de Force of Sanity and Grace: On Reading from the Sent Folder
</H3> |
<H3>
Playing By Ear
</H3> |
<H3>
Unmastered Desires
</H3> |
<H3>
Litro Desire Issue: Summer
</H3> |
<H3>
Complicated Blues
</H3> |
<H3>
A Good Mask by Nadia Owusu
</H3> |
<H3>
Four Dope Queens
</H3> |
<H3> Writing the Memoir </H3> |
<H3> Flash Fiction Course </H3> |
<H3> Introduction to Prose Poetry </H3> |
<H4> Privacy Overview </H4> |
<H5> Never miss a post! </H5> |
<H5> New online writing courses </H5> |
Social
Social Data
Cost and overhead previously rendered this semi-public form of communication unfeasible.
But advances in social networking technology from 2004-2010 has made broader concepts of sharing possible.