The Summer 2025 issue of The Brussels Review offers a captivating blend of fiction, nonfiction, and poetry, showcasing diverse voices and narratives. On its evocative cover, Ximena Maldonado Sánchez’s vibrant artwork, Terracotta, beautifully sets the tone for a collection defined by profound emotional depth and artistic exploration. You can also read a review of her work or listen to her journey in our new podcast: Call To The Editor on Spotify.
The issue opens with Sonnet Mondal’s poetic reflections, drawing readers into nuanced meditations on memory, loss, and heritage. His pieces, including “Fragments of Life,” “The Biscuit Factory,” “The Bridge at Midnight,” and “Grandpa’s Veranda,” evoke a poignant sense of nostalgia and the passage of time.
In nonfiction, Gaye Brown’s introspective essay “Some Gifts” elegantly probes the complex nature of generosity, intertwining personal anecdotes with thoughtful philosophical insights. Similarly, Sue Tong’s “Father in the Photograph” and Gina Elia’s “Show and Tell” offer deeply personal explorations that resonate universally, inviting readers to reflect on their own histories and relationships.
The fiction selection is particularly compelling, headlined by Patrick ten Brink’s imaginative and thought-provoking “The Word Thief.” Brink masterfully blends elements of mystery and fantasy to craft a tale that explores the profound power of language and memory. Beatriz Seelaender’s “Motion Picture Sickness” adds a clever and satirical dimension, examining fame, identity, and morality through the lens of contemporary pop culture with sharp humor and keen observations.
Louis Kummerer’s intriguingly titled “A Founding Father’s Guide to Contingency Planning” provides both historical nuance and sharp social commentary, while Charles Wilkinson’s “Hayden in March” and Danila Botha’s “Like Freedom or Fear” explore psychological landscapes with acute sensitivity and emotional authenticity.
The issue also presents diverse poetry from Yelena Moskovich, Christina Brannon, and Paul O’Brien, whose evocative verses deepen the thematic tapestry woven throughout the magazine. Moskovich’s sparse yet powerful imagery in poems like “Little Morning,” “Beauty,” and “Lack” offers haunting contemplations on existence and perception. Christina Brannon contributes compelling pieces such as “Experience More Than Clean,” “I really can’t,” and “pink,” while Paul O’Brien’s verses, including “Perishing Beauties,” “Gran Paradiso,” and “Zenith,” round out the poetic offering with introspective depth.
Overall, the Summer 2025 edition of The Brussels Review adeptly balances literary innovation with emotional resonance. It is a must-read for those seeking compelling narratives, poignant reflections, and creative expressions that thoughtfully interrogate human experiences and contemporary issues.
You can find the issue now in our library, or through Amazon and other online booksellers.
