“Appearance of the Deer Woman: Diptychs” by alumna Laurie Saurborn Young (poetry, ’08) appears in Tupelo Quarterly:

Young-Image-1I.

The afternoon of the day she dies, my grandmother reminds me to check the weather before driving home from the hospital, in case the growing thunderheads decide to unleash a torrential rain.

Some oil, a little water, and those bald tires of yours will get you into trouble, she says, straightening her wig. My mother, feeding her bits of ice from a Styrofoam cup with a small plastic spoon, nods. Think of the baby.

After a two-hour drive on dry roads, I arrive home with the baby intact and asleep. The phone on the kitchen counter rings. It is loud on the other end of the connection, as if my mother is eating the ice she recently fed my grandmother. Though by now, the ice is melted. The crunching sound is tears between receiver and chin.

Holding the baby, who squirms in her rumpled two-piece embroidered with daisies, I walk out into the backyard and stand in the shade of a sweetgum tree. A woman with the face of a deer steps out of the bamboo. I blink, and her face vanishes behind the wind. On the other side of the fence, our neighbors begin throwing empty beer bottles against their garage door.

When she returns home that evening, I run toward my mother, waving two tissues in the humid August air.

Finish reading online at Tupelo Quarterly.

New work by Joan Frank (fiction, ’96) appears online in TriQuarterly:

In Case of Firenze

Banishing the Voices

See the mouths open before you finish telling them you’re going.

Watch the breath being drawn. Watch the lecture-on-the-brink fire their gazes:

(Here is what you should do. Here is what you must see. There’s where you’ll find the darling old couple who will cook you the Renaissance Special. This is the exact street and stall and name to ask for and what you must understand to the roots or you cannot possibly claim to know anything about it.)

(Here is what you must think and feel about this ancient, compressed dream of red-tiled roofs and mustard and rust, salmon pink ochre, cocoa, café crème, Roman archways showing through in patches, fading frescoes across marble. Chunks of felled columns. Seven bridges over a brown river boiling through town day and night throwing light; cold mist cloaking the air, palazzi aligned like tired dowagers reporting to duty. Dark, icy museums packed with dusty relics. Long, sorrowful windows, splintering shutters. Towers of mossed stone buttressed by a sea of Tuscan green; carved passages surging with anthill traffic, cavalcades of light.)…

Continue reading at TriQuarterly. 

Alana Marie Levinson-LaBrosse (poetry, ’12), with Soran Azad, has a new translation, of a poem by Jamal Khambar in Words Without Borders:

If You See Fatima

Translators’ note: Maria was the name of a girl murdered in an honor killing in Sweden; Fatima Shahindal was killed for the same reason a few years before Maria.

Maria,
If you see Fatima, tell her
They are still here, the women-killers, still here with knives,
Waiting.
Tell her still
This darkness, this killing devours us, all our seasons.
Tell Fatima
This atmosphere changes from one song to another,
One sea flies to another,
One garden gives rain to another.

….

Read more at Words Without Borders. 

A new story by alumna Christine Fadden (fiction, ’09) appears online in Germ Magazine:

Read Aloud

Martini’s was a small family-run grocery store, just a five-minute drive from Grandmom’s house. I hadn’t been in yet that summer, what with all my softball practices and games. When we got there, Mr. Martini greeted my grandmother with a hug. She had been his teacher in high school, and had known my mom and dad growing up.

“Special on cherries, Mrs. Carter,” he said. “All the way in the back.”

“Look at you,” he said to me. “You’re turning out to be just as beautiful as your mother.”

I smiled. Beautiful wasn’t a word directed at me too often.

“Same almond shaped eyes.”

Almond shaped? Was he saying that because he was a grocer?

“And why hasn’t she come to see me yet this summer?

“Mom and Dad aren’t here this summer,” I said. “Not yet.” I wasn’t about to tell Mr. Martini they were back in Delaware plotting their divorce.

He pursed his lips and nodded. “Bet your dad has some big exciting project going on, huh? Henry always had the big exciting projects, even in high school. Your mom thought that was pretty neat. Selling skyscrapers beats selling Gobstoppers and Pop Rocks, I suppose.”

We both looked up and down the candy counter.

My grandmother returned with cherries and a pint of Breyers Vanilla ice cream. Mr. Martini said something about how lucky she was to have such a lovely family and she thanked him and said, “Tootaloo.”

“Go on, Grandmom,” I said, “I’ll walk home.”

 Continue reading online. 

 

Jamaal May (poetry, ’11) is a featured poet on Poetry Daily:

Triage

A suture would be useless
and a tourniquet can’t choke off
blood when it spills
from this far up the inner thigh…

Read more online at Poetry Daily.

Four poems by Jamaal May also appear online in the PEN Poetry Series:

God of the Wood

The air in this world is thicker than I remember
from nights at camp, whacking fireflies with a fallen branch.
I wondered if the shadows, numbering in the hundreds, were all cast
by the same god I hung out with when I was little—his voice
is the silence I’ve been afraid to hear since.
I would smack the side of a tree and stand in the rust-red
shower of leaves until I felt stronger than god;
I could’ve cracked his moon in half
if I wanted to—if I swung my stick high and hard enough,
if I screamed loud enough. But I’m afraid
to know what happens when enough
is the sound of my staff splintering against heaven,
a shock up my arm—
more with every strike.   ….

Read more of “God of the Wood” and other poems online at PEN.org.

A new poem by alumnus Jeremy Bass (poetry, ’10) appears in Tupelo Quarterly:

Six Studies of Francis Bacon

Prologue

My grandfather was a butcher. In death, my mother took on the color and countenance of meat. One week earlier I’d studied these paintings, trying to decipher screams from the kill on its hooks. I did not want to look is why I looked. Then I wished I’d turned away.

1.

Around him bones are scattered in a railing. Staircases run through the sections of meat. If the room lifted into light, her bed was a sunken confluence of red. The way her face contained its own absence. And still I could not understand how a man could disappear into his umbrella, become nothing inside his own clothes.

2.

Distorted, of themselves and other, I wrote. Humans absolved into clay. As now her face appears in the painting: distorted of themselves, distorted other— While behind her, letters overwritten: an unseen language, muttering.

Continue reading online at Tupelo Quarterly.

A new story by alumnus Amelie Prusik (fiction, ’12) appears online in Latern Journal:

School ends, the chattering days go back into their box. Outside my office the long hall empties of girls then fills with June light. I’m grateful for the time off without knowing how to fill the empty squares on my calendar. For once, I’m not signed up for any graduate classes; the lack of something to look forward to feels first like serendipity, later like a mistake.

Pierce wants me to come home for June and July, to spend time with our mother in the large, loosed-framed house on Jefferson Avenue. Mother is failing, although Pierce won’t give me any specifics other than to repeat, Say you’ll come, for Eulalie. Pierce and her husband Grady bought the house so Mother could come live with them should the need ever arise. Four years ago the need arose; now Eulalie occupies a commodious apartment over the garage.  Having my mother and sister live together feels like a conspiracy—a covert project—to make me feel excluded form what is left of our family. We started with five. Now, with our father dead and my brother Toby living in an SRO in San Francisco, we are down to three.

Continue reading online.

An interview with and new poems by alumna Rose McLarney (poetry, ’10) appears online in Connotation Press.

Interviewer John Hoppenthaler: Rose, first let me say congratulations! Your next book of poetry, Its Day Being Gone, won the National Poetry Series award and will be published by Penguin in spring 2014. What can you tell us about the process? How did you learn of your book’s selection? What were/are your thoughts about this big step ahead?

Thank you. I so appreciated winning a contest in which submissions were judged anonymously because it let me be sure that it was the writing all on its own, regardless of any qualification or connection, that earned the attention.

I received the phone call letting me know I’d won while in line in the library, between teaching classes. I didn’t know what to do other than go on and lead my next workshop, which I’m sure I did distractedly. I was too surprised to say anything for the rest of the day, and that ended up being good practice because I had to wait many months before the official award announcement came out. In the meantime, I did collect myself to tell close friends—and buy some Scotch.

Continue reading interview online.
 

Six poems, including “What the Snake Says,” “My Gift,” “How to See,” “The Treatment was Frogs, or The Tradition was Honey,” “Conservators,” and “Glossing the Image,”  also appear in Connotation Press.

 

What the Snake Says

 

So inelegant, your arms and legs,
that wrapped around the one you loved.
It seems they still pretend to.

 

At least, it doesn’t look like limbs help much,
seeing you scrabble up proud mountains, thrash
through old brush.

 

That’s what the snake says, gliding over the ground
or climbing an oak with the same sleek movement,
nothing attached, her body a clean line.

 

*

 

Continue reading online.

A new piece, including a video and poem, by alumnus Andy Young (poetry, ’11) appears online in The Volta:

Song of the Plastic Bags

on the road to Saqqara

a road beside the road

or a piled path of rocks
 
or oh my trash
 
solid seeming

….

Continue reading online at The Volta.

A new work by alumna Erin Stalcup (fiction, ’04) appears online in the magazine, Hinchas de Poesia.

I want to tell them. I want to tell them what is wrong. Why I no hit. They going to ask me, soon they will ask me, but all I can say to them is I don’t know why I am not me.

Before, they ask me how it feel to win big, they ask what I doing different when I hit 22 homeruns one season, 41 the next. They notice when I do good, they ask me what I doing to be so good. So they will ask me this. Soon.

And I will have to say to them I am doing what I always doing up there, nothing different. But now I no hit the ball.

Mi papá me llama, he say I scared of the pitch. He say never before is he seeing this in me. He watch the game against Tampa on the television I buy for him, he call me and he say, ¿Por qué te da miedo la pelota? Nunca te asustas antes. I say I don’t know, Papi, but the hitting coach, he will tell me what is wrong. Papi say he will tell me I scared.

Finish reading online at Hinchas de Poesia.