FICTION | NONFICTION | POETRY |
TRANSLATION
SUBMIT STORE DONATE OPPORTUNITIES INTERVIEWS WRITERS WE PUBLISH
by Gracie Bialecki
Biking through a post-virus-apocalypse Paris was surreal. The streets were eerily empty and the Chanel and Gucci ads that had plastered the kiosks and bus stops were replaced by health advisories and public thanks to medical professionals.
by Hawa Allan
Thinking at the anatomical level about the potential scourge of pathogens and parasites has led me to conclude that my physical body is more discerning and intelligent than any so-called “thinking” person, much less any government.
Shuang Ang’s “American Lessons,” read by the poet. Part of a brief selection of poetry from Epiphany’s Fall/ Winter 2019 issue.
Short story, “Horse Screw” by Argentine writer, Tamara Tenenbaum. Part of a selection of translated literature from Epiphany’s Fall/Winter 2019 issue. Translated by Susannah Greenblatt.
by Michael Barron
A Coronavirus novel, in theory, brings a quotidian narrative to epidemic literature. This is not a story of a select few but rather of everyone; not only lives but livelihoods.
Luisa Castro’s short story, “A Wedding by the Green” from her collection, I Could Hurt You. Part of a selection of translated literature from Epiphany’s Fall/Winter 2019 issue. Translated Jacob Rodgers.
by Yoojin Na
The reasons why my own family chose to immigrate illegally are so complex and personal. How could someone who has not shared this fear or uncertainty know our estrangement, let alone write about it?
Duncan Slagle’s “Pentheus in the Mirror,” read by the poet. Part of a brief selection of poetry from Epiphany’s Fall/ Winter 2019 issue.
by Gracie Bialecki
If someone had seen the movie before reading the book, how could they imagine anything else? Lee’s world is the definition of Middle Earth for millions of fans. Will future generations grow up with its realms and characters conveniently preconceived?
Scott Bailey’s “Garden,” read by the poet. Part of a brief selection of poetry from Epiphany’s Fall/ Winter 2019 issue.
Amy Bonnaffons: “I really liked the idea that even the people who literally carry out the business of death and of transition from this world to the next have no idea what they’re doing.”
by Michael Barron
Fiction has always been a laboratory to study the human condition but with the advancements of technology and science becoming more commonplace, fiction has become a simulation runner to experiment on the plausible consequences of these achievements.
by Yoojin Na
Lara Vapnyar discusses the “mysterious Russian soul”, childhood, and how she learned she is a powerful writer.
by J.T. Price
Lillian Ross does not reveal how the adaptation of The Red Badge of Courage will pan out until practically the very end, at which point, the plot reasserts itself and what had seemed a sideshow attraction rears into view as the true climax of Picture.
by Gracie Bialecki
Futuristic sexual encounters aside, we’re constantly betraying our partners and friends with technology. In any interaction, a phone is liable to appear with or without explanation—shifting a dual-sided conversation into a regrettable love triangle.
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