Interviews & Reviews by MMKaufmanMar 13, 20248:00 amFebruary 22, 2024 Ben Shahon–A Collection for No One to Read (Kirsti MacKenzie)
Interviews & Reviews by D.T. RobbinsAug 4, 20238:00 amAugust 4, 2023 Drew Buxton Interviewed by Chris Vanjonack
Interviews & Reviews by MMKaufmanMar 7, 20237:58 amFebruary 12, 2023 Christopher Zeischegg’s The Magician (review by O F Cieri)
Interviews & Reviews by MMKaufmanFeb 27, 20237:58 amFebruary 12, 2023 I’m Never Fine: Scenes and Spasms on Loss by Joseph Lezza (Review by Alex Carrigan)
Interviews & Reviews by MMKaufmanJul 22, 20228:00 amJuly 22, 2022 Nudes by Elle Nash Engages in Conversations Of Desire And Disorder (Madison Brown)
Interviews & Reviews by D.T. RobbinsMar 7, 20228:00 amFebruary 28, 2022 Chelsea Hodson’s ‘Tonight I’m Someone Else’ is a Token of My Love (danielle chelosky)
Interviews & Reviews by MMKaufmanDec 8, 20218:00 amDecember 6, 2021 Review of Helen Chau Bradley’s “Personal Attention Roleplay” (Corey Qureshi)
Interviews & Reviews by MMKaufmanOct 15, 202110:00 amOctober 6, 2021 The Precision and Love of Language in Ye Chun’s “Hao” (Timothy Norton)
Interviews & Reviews by MMKaufmanJul 12, 20211:41 pmJuly 12, 2021 PORTRAIT OF THE ARTIST AS A YOUNG ZILLENIAL: a review of Mr. Funnyman (SHAWN BERMAN)
Rejection Letters 