Zoetrope: All-Story
Historic Zoetrope Building
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    Zoetrope: All-Story is Francis Ford Coppola’s internationally acclaimed fiction and art magazine.  
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    Zoetrope: All-Story is Francis Ford Coppola’s internationally acclaimed fiction and art magazine.  
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    Zoetrope: All-Story is Francis Ford Coppola’s internationally acclaimed fiction and art magazine.  

CURRENT EDITION

Guest Designer

Juman Malouf

Contributors

Jamil Jan Kochai
Stuart Dybek
Wes Anderson
Hanan Al-Shaykh

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NEWS & EVENTS

News and Events

Short Fiction Competition

Many thanks to all who entered the 2021 Short Fiction Competition. We appreciate the opportunity to read such bright and brilliant new work.

From nearly 2,000 submissions, guest judge and 2021 Pulitzer Prize finalist Daniel Mason honored the following stories . . .

Spring 2022 Edition

The editors are thrilled to announce the release of the Spring 2022 edition, designed by the acclaimed illustrator and costume and set designer Juman Malouf, with contributions from Oscar-nominated filmmaker Wes Anderson, MacArthur fellow Stuart Dybek, and PEN/Hemingway Award finalist Jamil Jan Kochai, among others.

Five Questions with Juman Malouf

Why did you accept the invitation to design the Spring 2022 edition of All-Story?
Zoetrope: All-Story is the only magazine I still receive in the mail! I always enjoy the stories—but, also, I love seeing how the designers completely reinvent each issue, which is always unexpected and wildly different from the last. I wanted a shot at it.

FROM THE ARCHIVE

Story artwork by guest designer Olafur  Eliasson

Origin, Story
David Bezmozgis

My connection to “Natasha” stretches back nearly two decades. I wrote the original story, adapted it into a screenplay, and subsequently directed the film. I had achieved very little as a writer before I wrote “Natasha,” and I have at times wondered what my life would be like if I hadn’t written that story. It feels odd to invest so much significance in a single work, and a short one at that, but it was this manuscript, in draft form, that caught the attention of my first book editor. As it transpired, I chart the beginning of my mature life, as a man and as an artist, with the writing of “Natasha.”
     To give a sense of the gestation of the film—and to remind myself of what it all entailed—I returned to my journals to see what I’d recorded in connection to the story: the initial anecdote that inspired it, the conception of the form of the narrative, the decision . . .

PAST EDITIONS

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