A letter from the editors.

Kai Lalley Bradbury close-reads the European Commission’s English Style Guide as an uneasy source of authority on language with an absurdist sense of humor.

Early science fiction writers and readers conspired to predict our futures, constantly revising outdated speculations and promising startling revelations—Krushna Dande tracks their failed visions.

In her palinode–a poetic form of retraction–Donika Kelly contemplates the hybridity of memory and correction’s possibilities and foreclosures. The metaphor that does the heavy lifting in this poem is the centaur: half horse, half human, a creature of bodily hungers demanding satisfaction and slant longings for wisdom.

Grace Lavery makes sure to record the feelings of different kinds of facts in a piece inspired by Kafka’s short story, “Eleven Sons.” This chronicle of eleven species of fact, complete with their blindspots, crotchets, and quiddities, takes us through the psychogeographical territory of our relationship to the factual, which is often a form of desire.

Through the critical work of contemporary artist Sonja Dahl, L Vinebaum makes visible the ideologies of race and colonialism encoded in historical white-on-white textiles and white supremacist quilts.

Emily Knapp gives us three ubiquitous reply guys from the eponymous meme—the Cookie Manster, the Tone Police, and the Gaslighter—laid bare and effectively gamified in printable, ready-to-gift bingo cards.