June 19, 2026 Triptych Three Horses By Missouri Williams A horse jumping over three ponies (detail). Photogravure after Eadweard Muybridge, 1887, via Wikimedia Commons. Licensed under CC BY 4.0. I’ve never much liked horses. The first time I meet my sister-in-law is at the stables, where she keeps an enormous bay stallion with the same name as her brother, my husband. When the two of them were younger, this caused confusion: it was hard to tell which Václav she was talking about; which one, horse or boy, had behaved badly. Playing willing is a newcomer’s role in any family scene, so I ride my sister-in-law’s horse when she insists. This Václav is old, gentle, and toothless. Still, I cling to the reins. I’m much too afraid of falling. Later, in the car on the way back to the city, my sister-in-law tells me about the astronomical sums of money the animal consumes each month and the two jobs she juggles to pay for his keep, and I think of the opening of Aristophanes’s comedy The Clouds, in which a father, Strepsiades, listens to his son, Pheidippides, as he sleeps and dreams of chariot races, and laments that “his madness for horses has shattered my fortune.” I prefer to encounter horses at a safe distance. The difference between the immaterial horses who have galloped through my reading and the material horses that surprise me on walks in the countryside, big and breathing heavily, sidling up to fences with their long tongues lolling and buzzing with flies, never stops surprising me. Like death in a tragedy, the horses in Greek theater always seem to be happening offstage. In the final scene of Euripides’s Hippolytus, the battered body of the eponymous subject is hauled out for us to see; after being terrified by Poseidon, Hippolytus’s horses dashed his chariot against the rocks. The gravely injured boy then reconciles with his father, Theseus, before giving up the ghost. A messenger lets us know that the horses themselves have disappeared. He doesn’t know where. Read More
June 3, 2026 Triptych Hildegard, Tarkovsky, Citrus Trees By Nicolette Polek Photograph by Lazaregagnidze, via Wikimedia Commons. Licensed under CC BY-SA 3.0. I began growing kumquat trees after my German hairdresser—who fixes BMWs and fills his salon with large, flapping plants—pulled a pale fruit off one of his containers’ branches and told me to keep it in my pocket for three days to ripen. I wrapped the kumquat, the size of my thumb pad, into a Kleenex to be transported in my winter coat. It was a new year. I drove back to a house built in the 1700s—owned by a woman in her nineties who worked full-time and kept a fridge filled with Celsius energy drinks—where I was living in the attic. The pocket kumquat, forgotten until I unpacked from the holidays, tasted like a flower. A year later, no longer attic-bound, I bought three varieties from a nursery recommended for its eclectic catalogue, which includes honeyberries, yerba maté, oyster leaf (which tastes like oysters), and a sweeter, stronger blackberry developed by the University of Arkansas that has the “potential to change the blackberry market.” The happiest plant of my life was an unspecified citrus tree that I rescued from a greenhouse sale at age eleven. The citrus and I grew equal in height until I went off to college and it surpassed me, and though it never bore fruit, its leaves were glossy and in wintertime it towered at the end of my childhood bed, which was also in an attic. Citrus trees have always stalked me, with a meaning similar to what can be read in Saint John Climacus’s The Ladder of Divine Ascent: “The natural property of the lemon tree is such that it lifts its branches upwards when it has no fruit, but the more the branches bend down the more fruit they bear.” In humility and trials, fruit can emerge. In the time between when my German hairdresser gave me a kumquat to put in my pocket and when I received three varieties of kumquat trees in the mail, my childhood home, with its citrus tree and attic, burned down, and was rebuilt. *** For Hildegard of Bingen, the famous twelfth-century Benedictine abbess and mystic, the earth produces goods commensurate with every need of the human body. This conviction was rooted in her broader theological framework of viriditas, or “greening power,” a divine life force that animates all creation and expresses itself in various ways, including in the healing properties of plants. In her encyclopedic book Physica, she sought to codify the natural world—plants, elements, trees, stones, fish, birds, animals, reptiles, and metals—according to each component’s effects on the four temperaments. Citrus trees (more “hot than cold”), signify chastity. When boiled in wine and consumed daily, their leaves alleviate daily fevers. Radishes cleanse the brain. Horseradish makes a lean person strong. Chamomile is calming to the intestines, and mullein is good for those who are sad. Wild lettuce, whose milky sap would later be studied in the nineteenth century for its mild sedative quality, extinguishes “uncontrollable lust.” It can be made into a kind of lettuce soup, the liquid of which is to be poured upon hot stones in a sauna while placing the cooked leaves on one’s belly. The four temperaments, originally defined by the Greeks but interpreted by Hildegard in a more spiritually inflected way, are no longer reasonable medical categories, though I would be considered melancholic—the “iceberg temperament.” If not careful, I might be brought down by poisoned daydreaming. In the arduous process of rebuilding the house, we discovered that it had already burned down years before we moved in. My father recalled finding what may have been an arm bone when he dug around the side yard. The year of rebuilding was a task of inventorying and replication; insurance requires that the new house be the same, more or less, as the house that has been demolished. Read More
March 23, 2026 Triptych The One Thousand Blobcows Born Each Year By Morgan Day Photograph by Hans5400, via Wikimedia Commons. Licensed under CC BY-SA 3.0. A spotted creature is rolled across gravel. Another is placed on a dinner plate, then cradled in two palms. These were meant to be cows but emerged instead as balls of tissue and organs enclosed in hair coats. Their name, amorphous globosus, derives from the Greek and Latin for “formless sphere.” I watch videos of formless spheres for the same reason that I watch videos of miniature horses: I am in search of purity. Amorphous globosus is a nonviable creature, incapable of development or growth. It’s more easily understood by its missing parts: a head and limbs, a mouth and genitals. Occasionally, it’s given a useless heart. It’s continuous; a sphere at infinity with the weight of a water bottle. Within it are more ineffectual formless spheres, fluid-filled cysts in lieu of functioning organs. At a threshold of never having lived yet never having not, amorphous globosus is hard to categorize. Neither a tumor nor fetus, it’s relegated to an anomaly: a fetal monster. Amorphous globosus is often buried in the dirt like a dead animal. Read More
February 13, 2026 Triptych How to Be THAT GIRL When You Feel Dead Inside By Emmeline Clein “Slim-thick” mannequins. Photograph courtesy of the author. 1. Adam Phillips, On Flirtation (1994) My mother is a strong proponent of batting your eyelashes in sticky situations; her mother preferred a strong drink and a withering gaze. Like hers, mine harbors vices and makes convenient excuses for abruptly leaving rooms. Evidence of sudden flight and ruthless pleasure-seeking accrues; she leaves a trail of chewed Nicorette all over her house and hides the metallic sleeves in the side pockets of car doors. She flirted her way out of quitting smoking during pregnancy in a Manhattan OB-GYN’s office in 1994, the year Adam Phillips published a collection of essays called On Flirtation that would change my life, or at least the way I tell my life story. Flirting, it turns out, is not the acquired skill that the teen magazines wanted me to think it is, but rather an orientation toward desire, rigor, and deferral; it requires both the conviction to remain unconvinced and a skepticism about narrative cohesion. I first read On Flirtation in a fit of severe insomnia, on a stunning and astoundingly uncomfortable couch in my flirtiest friend’s apartment. He flirts with the truth—though, to be fair, he currently claims to be in recovery from pathological fabulism—but is also known to flirt with chaos, credit card debt, and discipline. To Phillips, a flirt is a charming rebel, drolly doubting our culture’s cherished, constricting notion of the “good life” as a linear project of becoming one’s “true” self, which usually means a spouse, parent, and worker. Read More
May 20, 2025 Triptych Recurring Screens By Nora Claire Miller My iMac G3, running Warp. The world’s first screen saver was not like a dream at all. It was a blank screen. It was called SCRNSAVE, and when it was released in 1983 it was very exciting to a niche audience. It was like John Cage’s 4’33″ but for computers—a score for meted-out doses of silence. Instructions for using the screen saver were first published in the tech magazine Softalk. The headline read: SAVE YOUR MONITOR SCREEN! Across from the article was a full-page photo of firefighters rescuing a computer monitor from a burning building. Softalk, December 1983. The article explained that there was a new danger facing computers: “burn-in.” Basically, if a screen showed the same thing for too long, the shadow of its image would be tattooed to the pixels. A screen saver stirs the soup of the image to keep it from sticking to the screen. Read More