
I WROTE IT ONLY FOR YOU: An Interview with Joshua Mohr
At its essence, this story is about existential amnesia. What do we need to remember? What do we want to remember? And what’s the difference between them?

At its essence, this story is about existential amnesia. What do we need to remember? What do we want to remember? And what’s the difference between them?

There was a fence, and there were holes in it, and she looked like a lizard sometimes, a shitload of speed coiled inside some slender frame.

No matter how much paper we push around in this life, or the next, or inside the crumbling filing systems of our own minds, the termites are coming for us all.

I used to say I couldn’t travel because I didn’t have the time, but now I’ve got all the time in the world because the world isn’t using it.

In retrospect, it’s obvious to me that I’m writing about my desire to feel a part of something greater than myself. I know that’s an impossibility, however.

The couch is more of a loveseat. It hardly seats the two of us. On it is the pillow and blanket I’ve been using. This is the longest conversation we’ve had in over a week.

All-American Murder isn’t bad, but it’s almost an extraterrestrial product, a movie made for humans by something that has no relationship to the physical universe.

He returned home silent, even more sullen. I asked him about Mrs. Marra once, but he looked at me as if all memories, good or bad, had been erased.

If the Jury Room is supposed to be some kind of hell, we should all be so lucky to wind up in a hell like this.

Now that your precious jackfruit is out in the world, latch the angel onto your body and let nature take its course. She held her jackfruit to her breast, to her arms, her neck, rubbed it against herself until she was raw.