Michaela Carter, a 1995 poetry graduate, was recently featured in Lit Hub. Read an excerpt of Carter’s essay below:


How Leonora Carrington’s Self-Portrait Helped Me Tell Her Story

When I first realized that I was going to act on the wild presumption of writing a novel based on the life of the artist and writer (and real-life genius) Leonora Carrington, I was terrified. I was in awe of her work, and the spirit with which she lived her life, and the more I discovered about her the more awestruck I felt.

She was one of the twentieth century’s greatest artists, but more than that, she was a fierce individualist, feminist, mystic and shaman. She made more than two thousand works of art during her 94 years on this earth, and every chance she got she spoke up for the rights of women and the earth.

In spite of my fears—or, perhaps, because of them—I began to write about her. I was particularly fascinated by the drama and trajectory of her early adulthood, and her emergence as a fully realized artist producing her best work. When she was twenty she fell in love with the 46-year-old Surrealist artist Max Ernst and spent two years in a relationship with him, first in Paris, then in the countryside of southern France. During the Nazi invasion of France, the two were separated, and she fled for the border. In Spain, she had a breakdown and was locked in an asylum—a trial she managed not only to survive, but also to grow from, emerging with the newfound self-knowledge and strength that would enable her to access and believe in her genius.

Max Ernst and the art collector Peggy Guggenheim made their way into the story, but my protagonist was chiefly Leonora, and there was something about her I didn’t understand. I knew she left Max before she moved to Mexico, where she became one of the country’s most celebrated artists, but I didn’t know why. Had she fallen out of love? Or was there another reason she needed to break off their affair?

Read the essay in its entirety here: https://lithub.com/how-leonora-carringtons-self-portrait-helped-me-tell-her-story/

2017 poetry alum Tiana Nobile was recently featured in Lit Hub and Poetry Daily. Read an excerpt of Nobile’s poem, “/ˈmīɡrənt/,” below:

Tiana Nobile (poetry '17)

/ˈmīɡrənt/

Of an animal, especially a bird. A wandering species
whom no seas nor places limit. A seed who survives despite
the depths of hard winter. The ripple of a herring

steering her band from icy seas to warmer strands.
To find the usual watering-places despite
the gauze of death that shrouds our eyes

is a breathtaking feat. Do you ever wonder why
we felt like happy birds brushing our feathers
on the tips of leaves? How we lifted our toes

from one sandbank and landed – fingertips first –
on another? Why we clutched the dumb and tiny creatures
of flower and blade and sod between our budding fists?

Read the poem in its entirety here: https://poems.com/poem/migrant/

2019 fiction alum Alyson Mosquera Dutemple was recently featured in Matchbook. Read an excerpt of “Hazardous to Sea Life” below:


Hazardous to Sea Life

Molly said when she stroked books, they purred for her. It sounded sort of dirty to me, and I got a little flushed, to be honest, hearing her talk like that, watching her demonstrate in the library during study hall, holding a book open wide in her lap and running her fingers over the binding, pretending to search for the exact spot that would make the book warm to her, reveal its secret self. Its low voice, like a lover’s.

           She was explaining about the purring thing to April. It must have been some sort of inside joke because, though it wasn’t all that funny, April laughed. Then Molly laughed. And with her head thrown back like that, Molly’s mouth was open so wide that you could see all the way back to her fillings.

           It was dark back there, in Molly’s mouth, but her fillings were gleaming and wet. I wished I could get a closer look at them. It made me feel a little less lonely to see all that silver marring her teeth. Less guilty, somehow, about sitting alone at the study hall table, eavesdropping, when everyone else around me was paired off, whispering their own private jokes. I turned the pages of the dictionary I was pretending to read. I ran my finger over the columns of “s” words and stopped at “saliva.”

           Molly and April laughed again, louder this time, but I didn’t look up because I didn’t want them to know I was listening, because I knew then they would start to whisper, and I would no longer be able to hear what they said. I wanted to be in on their private joke, and some part of me wanted to tell them something private about myself, too. Maybe about the box at home where I kept the rings. The plastic ones that tether six-packs together, the ones that all the nature shows say are hazardous to sea life. At first, I started saving them to cut them up into pieces, but after a while, I started keeping them intact, and now I had this whole collection hidden away in a box.

           Sometimes, when I took them all out and fanned them on the floor, I liked to pretend that I was an animal stuck inside of one. I would writhe around on the carpet until I could practically feel the unforgiving twist of the plastic around my throat, the pressure of it on my neck. Imagining being stuck inside one of those loops made my eyes bulge, and sometimes I’d open my mouth and start to gulp as if I were struggling for air. I’d hold my breath. I wouldn’t let myself blink or swallow. I’d keep going until I felt all dried out.

Read the story in its entirety here: https://www.matchbooklitmag.com/dutemple

Upon Seeing a Squirrel, Dead, by Natural Causes
By Rodney T. Jack

Scampering down from the hemlock,
over the snowbed, light as snow
itself uncompacted. Discretion
in such dire matters I admire.

Roadkilled by me, speeding
on my made way, causing this display—
the body in dishonor of a higher pact
to hold one’s self in mind
agile and fast.

Couldn’t it have just died in the nest,
the elements carrying the body and spirit off?
Or have a raptor do the work?
I ask questions I don’t care
to learn the truth about.

I love to hear myself
talk, exhibit my terminal illnesses 
for family and friends to remember me by. 
Instead of falling in the out of doors,
in clear view of the world.

Each semester, Friends of Writers awards a scholarship in memory of Rodney Jack, established by MFA Alumnus David Lanier (poetry ’94). Below is the essay by Leonard Jack Jr. in celebration of his brother’s life, alongside an additional poem by Rodney.

Celebrating the Life and Love of Rodney T. Jack

By: Leonard Jack, Jr.

My four brothers and two sisters—all of them—mean the world to me.  There is nothing I would not do for any one of them or any other family member.  My family, like most families, is composed of individuals who are different with regards to religious beliefs, political affiliations, educational levels, sexual orientation, occupations, and others.  Regardless of life perspectives and identities, we are a family who cares deeply for one another.  

Ironically, our oldest brother received a call from Rodney days before he committed suicide.  Rodney shared that he wanted to return home, and that he could not find employment.  My brother encouraged him about opportunities that he would be afforded, given that he had an advanced degree.  Rodney’s entire family remains heartbroken that his return home was not the way any of us had ever envisioned.  

I shall never forget receiving that call from the police detective on Wednesday, August 6, 2008, inquiring whether I was the brother of Rodney Jack; my incredible fear for what he was about to tell me; and hearing him say that my brother took his own life.  The detective was very patient with my failed attempt to pull myself together.  He asked if I had any questions and showed great patience as I went through each question with him.  It was extremely important to learn everything that he knew about Rodney.  He was honest in his responses.  

The detective indicated that he had been given my telephone number as the person who should contact the coroner’s office to make the necessary arrangements.  Immediately, I called Wayne Johns, Rodney’s life partner, whom I have known since the beginning of their relationship, to find out how he was doing.  Although I was out-of-town, attending a conference at which I was scheduled to serve as a guest speaker within minutes of receiving the call from the police detective, my topmost priority was to take care of my brother.  I cancelled my presentation and took the first flight, possible, home.  En route I began communicating with family members while listening to heavy hearts and making plans for Rodney’s return home to Baton Rouge.  

Everything moved very quickly. Decisions had to be made so suddenly that I did not have time to think about how I felt after receiving the shocking news.  My only thoughts were about being there for my brother and everything that was important to him.  Wayne later shared that Rodney’s suicide left him devastated and debilitated.  With everything that had been placed before me, under the most demanding, unimaginable circumstances, I remember making Rodney a promise that my best would be done and everything I had would be given.  Arrangements were made for Rodney, with my intentionally informing Wayne at every step along the way – selected clothing, funeral preparations, burial site location, and the program developed for Rodney’s funeral service.  I also intentionally included words from Rodney’s mentor, Ellen Bryant Voight, in the funeral program that indicated:

“In the winter 2003-2004 issues of Poetry, his mentor, teacher, colleague and friend, Ellen Bryant Voight, had this to say about Rodney’s writing:  His poems are marked by a welcome, persuasive, classical restraint.  The poet’s sensibility, and the particulars of his autobiography, smolder behind all his work, but his gifts for the telling detail, for a moving intimacy of tone, and for a syntax both suggestive and energetic, are reserved for looking out, at the baffling world.” 

The program also included an acknowledgement of his colleagues and friends.  The eulogy shared information provided by Wayne Johns from various sources.  I shared with everyone comments from Rodney’s student evaluations; acknowledged his having been awarded the Warren Wilson Holden Minority Scholarship; and mentioned the numerous awards he had received.  We asked attendees to pray for my mother and Wayne’s mother.  It was vital to ensure that Rodney’s entire life, from childhood to adulthood, was shared with everyone.  While under the most demanding circumstances of trying to put my deceased brother to rest with dignity, attending to our terminally ill mother, and supporting my devastated siblings (and other family members), I deliberately took pictures of Rodney (from his funeral) and had them delivered overnight to Wayne.  This was difficult for more than one reason, yet I did it for Wayne.  Wayne did not ask and I did not expect him to ask me to do so. Upon receipt, Wayne responded, indicating that Rodney looked at peace.  My belief was that I was doing what my brother would have wanted from me. 

Wayne sent me Rodney’s official discharge paperwork from the U.S. Navy, thereby helping me to secure his rightful place in Port Hudson National Cemetery, Zachary, LA.  Rodney received a full military funeral service to include the folding of his U.S. flag, taps, and a 21-gun salute.  For all military veterans buried at Port Hudson, up to 15 characters are allowed for engraved words on their respective headstones.  Neither I nor any family members decided how those 15 characters would be used.  That honor was reserved intentionally for Wayne who chose the most befitting words.  The words were: Poet & Catalyst—15 characters exactly.  The word poet was obvious given Rodney’s accomplished career as a poet—a passion the two nurtured together.  Wayne shared that he chose the word catalyst because he felt Rodney was “a person whose talk, enthusiasm, or energy causes others to be more friendly, enthusiastic, or energetic.”  We (Rodney’s family) thought Wayne’s chosen words offered a symbolic final way of celebrating and memorializing their life together; our family’s love for Rodney; and his many gifts.  We also felt these two words would help the hundreds of annual visitors know about the tremendous man resting in the historic Port Hudson National Cemetery.  Rodney’s engraved headstone can be viewed, anytime, at https://www.findagrave.com/memorial/54633609/rodney-twyman-jack#view-photo=125156152.  His final resting place shall forever receive the care and attention that is appropriate for a brilliant man who meant so much to so many and who served his country honorably. 

My love for Rodney, then and now, is unconditional and endless.  There has never been and shall never be, anything that could force me to turn my back on him—NOTHING.  Therefore I have always been there for him, never desirous of making any of his decisions.  I have experienced it all with Rodney; nothing has ever scared or turned me away.  He determined who remained in his life, no matter how short or long the duration.  Rodney chose what information, and with whom, he felt most comfortable sharing about his personal life.  Across the many writings about Rodney (captured in response to his death), many write that they found him to be funny; many wished they knew him better.  Others indicated they learned more about my brother from reading and spending time interpreting his poetry.  This theme appears across the numerous published writings and emails shared with me regarding Rodney’s passing and his impressive body of literary work.  August 6 of this year (2021) will mark the 13-year anniversary of his death.  Mr. David Lanier’s writing, dated March 15, 2019, evidenced that there are still concerns/questions as to why Rodney’s poetry has not been published (https://friendsofwriters.org/2019/03/15/david-lanier-poetry-94-on-the-poems-of-rodney-jack-poetry-99/).  There may be the perception that I (and his family) did not value Rodney; respect his lifelong relationship with Wayne Johns; and, for no reason at all, made a unilateral decision not to support the publication of his poetry.  First, the family has no reason to object to anything that Rodney felt was important to him—what he wrote about, where he chose to submit his writing, when it was submitted, with whom he chose to collaborate, who he chose to love, causes that motivated him and his actions, and the extent to which he chose to interact with others.  

Rodney was always an independent thinker and doer.  He would let you know this during the best and worst times in his life.  Rodney decided what he wanted to give, to whom he wanted to give anything, for how long, and with what he felt most comfortable receiving.  Despite numerous people having written about their interactions with my brother, Rodney was his own decision-maker regarding matters that related to his life before and leading up to his death.  His family and I have always known and respected this about our dear Rodney.  

We were never ever remotely ashamed or embarrassed about any topic (those published or yet to be published) about which he wrote, how he wrote about them, or why he wrote about them.  Anytime there was a poem published by Rodney, his family celebrated the achievement.  We followed Rodney’s work even without his letting us know that his work was published or that he was bestowed with prestigious awards.  When we had an opportunity to talk with him over his lifetime, we would mention that to him, and it always warmed our hearts seeing him both surprised and appreciative.  Rodney was always loved by his family, regardless of whether there were periods of time when he either did not believe it or felt loved, valued, and appreciated.  

It is unfortunate, but true, that Rodney chose not to establish a will or appoint an executor over his literary estate.  Further, our family learned, initially, from Wayne that Rodney purposefully deleted everything from his computer.  It is less clear how information from his computer was retrieved.  Don Share, former Chief Editor of Poetry magazine, wrote “Rodney Jack was published in a number of well-known magazines including Poetry, which awarded him its Eunice Tietjens Memorial Prize in 1999, but he committed suicide not long ago; he erased the hard drive on his computer that contained most of his work, though the poems were apparently recovered by his partner Wayne Johns (https://www.poetryfoundation.org/harriet/2011/04/poetic-fashion-and-unfashion-on-literary-outliers).”  Elsewhere, Mr. Lanier writes “One day, in early August, 2008, he erased all the poems and drafts contained on the hard drive of his computer.  He then committed suicide.  Luckily, Rodney’s partner Wayne Johns had regularly backed up his and Rodney’s computers and so was able to recover most, if not all, of the poems Rodney wrote (https://friendsofwriters.org/2019/03/15/david-lanier-poetry-94-on-the-poems-of-rodney-jack-poetry-99/).”  

Rodney’s decision to erase all his poems, not establish a will, and/or legally appoint a literary executor is not a negative reflection on his family, Wayne, or anyone else for that matter.  It is not necessary for me or anyone else to understand all his decisions and all the reasons why.  Years later, the one thing I am 100% clear about is that he did his BEST.  

A few years after Rodney’s burial, it was brought to the family’s attention that a book was nearing completion and that a response from the family was needed somewhat immediately to advance the publication of a book of Rodney’s poems. Initially this was exciting news.  The reality quickly set in that there was a lot of information to absorb.  After having opportunities to ask the publisher, Sarabande Books, Inc., several questions, and with time to carefully review historical emails, one major concern was raised.  My major concern was that the person initially asked to write the book’s introduction also made edits to Rodney’s original poems and that these changes were approved by Sarabande Books, Inc.  Rodney went through all the necessary training (before, during, and after receiving his MFA degree) and had established himself as a professional poet.  It was difficult for me to see why his poetry could not be accepted and published without modifications.  It would bring Rodney the greatest joy to know that he was accepted for not only his sexuality, racial/ethnic identity, love for Wayne, training at Warren Wilson College, and contributions to developing students, but most importantly, his poetry as he originally intended.  In essence, publishing Rodney’s poems without alteration would allow him one of the highest expressions of his being and an honor.  There surely were reasons why Rodney chose to create every sentence; place every punctuation mark; and make careful use of the second person; and others.  Readers can certainly apply their gifts to interpret the meaning behind Rodney’s writings, but I would submit that his writings should be, like those of any other author, that of his own.  

On June 17, 2014, Wayne and I did reach an agreement.  Wayne proposed that he would serve as the literary agent on Rodney’s behalf, with the understanding that everything is published in Rodney’s name without modifications, and that we work closely to resolve any potential difficulties along the way.  I had previously mentioned to Wayne my interest in establishing a non-profit organization in Rodney’s name that would support the development of undergraduate and/or graduate students, with funding from me, other sources, and the sale of Rodney’s published works.  Wayne and I discussed these arrangements by telephone with my attorney who, in turn, approached Sarabande Books, Inc. Its response was that there was no interest in revisiting the possibility of moving the book project forward.  

It is exciting to see that David Lanier has established a scholarship at Warren Wilson College, named in honor of Rodney T. Jack.  This is an incredibly generous way to celebrate his life and advance the vision of the College’s Creative Writing Program. It also is admirable that the scholarship will help build the skills of future LGBTQ writers.  On behalf of Rodney’s family, I sincerely thank Mr. Lanier for making this possible.  We, too, shall continue to implement ways of celebrating the life and love of Rodney.  The sharing of my brother’s suicide with colleagues, friends, and even strangers has revealed an important life lesson.  There are many of us surviving the loss of a loved one from suicide — some due to obvious signs, while there is an equal number whose signs are never noticed.  All of us have experienced a tremendous amount of shame and guilt—some superimposed upon ourselves or by having allowed others to impose the shame and guilt upon us and perhaps a combination of the two.  The truth is that we must do everything we can to love our family, friends, and colleagues by cherishing every precious second available to us.  My family shall continue its efforts to share Rodney’s life story, promote diversity in writing to include racial/ethnic minority groups, LGBTQ rights, social change, gender issues, and the stigma associated with individuals living with mental health conditions, as well as family, friends, and loved ones who are courageously choosing to support them.  

Rodney’s family continues to have discussions and remains hopeful that one day Rodney’s unpublished poetry (as he originally wrote it) will be shared with a broader audience.  Meanwhile, my entire family prays that the poetry community will continue to surround Wayne with sustained love, support, and comfort throughout his recovery from the deep grief over Rodney’s death—no matter how long the process might take.  

                     





Oneliness
By Rodney T. Jack

Since we’re mostly alone
most of the time
in our dreams, or lack thereof,

our oneliness peopled by phantom figures,
none of them tactile, within reproach,
does it stand

to reason one’s reliance on I?
For example, driving alone, 
in another’s truck,

I am on my way
(having passed it twice or more)
to the convenience store.

The Rupture,” an essay by fiction alum Peggy Shinner, was recently featured in the Ocean State Review. Read an excerpt below:

The Rupture

I have long bristled at the suggestion that writing is therapy, and have secretly and now not so secretly, distanced myself from that notion. Writing is work, or the attempt to make work into literature, while therapy is the attempt to banish unhappiness, or at least understand it.  Writing, in fact, can be a lifelong commitment to unhappiness, or to quote Philip Roth, writing is frustration…not to mention humiliation. Charles D’Ambrosio, when asked about confessional writing, held it accountable to the demands of language…. [T]he truth of writinginevitably takes you away from the merely heartfelt….In a way, writing maps a path out of the self

When my computer was stolen fifteen months ago, along with my back-up hard drive and flash drive—the hard drive was plugged into my computer which was slipped into my backpack sitting on the floor next to my desk (to make for easy transport), and the flash drive was, incidentally, in the backpack—the book I’d been working on was gone. In the days that followed, well-meaning friends, acquaintances, and strangers asked me if I was going to write about it or urged me to. A few dispensed with any hint of suggestion and went straight to the imperative: Write about it! One individual, getting swept up in the drama, said the theft was now part of the story, of what happens to the thief when s/he reads your manuscript… All this sounded almost gleeful, as if a great opportunity awaited me; as if horror would eventually transmute to something like pleasure; as if, delving into the well-known trough/trope of loss and despair, I’d come up with the requisite saving insights, and have a new project to boot.

I did not write about it.  I had no desire to write about it. What happened to me and Ann was commonplace and uninteresting. (Ann’s computer was stolen too, but her hard drive, not plugged in, was left behind. Therefore, she had back-ups of all her work.) What could be said about it that, despairingly and maudlinly, hadn’t been said before?  Why me? somebody might have cried.  Why not? Ann and I retorted when it was our turn. Perhaps more to the point, I didn’t want to be confined to a narrative of trauma. In that narrative, there’s pain, defiance, redemption; or there’s pain, and more pain. My on-going project had been of a different order. I’d wanted to shed the self, or set it aside, so that it became, as D’Ambrosio put it, an angle of vision, a complicating factor, almost impersonal. You must be so angry, friends said.  But I wasn’t angry. Somehow my mental processes by-passed the perpetrators, towards whom I might have felt angry, and I hardly thought of them.  Instead I was irrationally angry at everyone else. I was angry at Ann, who was suffering but to a lesser extent. The book I’d been working on was gone. 

People were, all at once, generous, comforting, off-key, and slyly castigating. Soup in particular was the universal cure-all delivered to our door.  Squash soup, potato soup, tomato. Bucatini all’Amatriciana, zucchini bread, brownies, flowers, wine.  There were tips for moving forward: [S]it down and do an outline from what you remember while it’s still fresh….you can fill it in later as you think of things.  Read the introduction to William Gass’s “Omensetter’s Luck”… in which he describes how his first novel, which he worked on for nearly a decade, was stolen by a colleague and sold to a publisher under the colleague’s name.  My dear friend, xxxx, who died this year, wrote a book on secrets. If you’d like to know of it, let me know.  Begin again, whatever that means—and looking back: We SHOULD remember to print out our story/novel every day or so. Even though we’d have to retype it all again into our computer—if our work was stolen—at the least we’d still possess our months and years of creativity in hard copy. More than once I was reminded of Maxine Hong Kingston, who’d lost a book manuscript in a fire; Amy Tan, who allegedly experienced the same, only I suspect the consoler was confusing Tan with Kingston, both Chinese-Americans; Nabokov, who would write a novel and then put it in a safe, and write it again without referring to what he had

How can I help? my mentor asked from many states away. Time to glean

I knew what glean meant but what did he mean? Glean, to gather or pick up ears of corn that have been left by the reapers.  [H]ow much has yet to be gleaned off this stony field. You’ll get through this hard time, he’d once said years ago, as we walked on the edge of a prairie—a hard time about which I have no lasting memory—and then there will be another, he added, and in that moment, with the goldenrod turning to seed and the wind cutting our faces, I saw that time would be relentless and also that it would pass.

Read the essay in its entirety here: https://oceanstatereview.org/2021/04/10/peggy-shinner-the-rupture/

Love Languages,” a poem by 2019 alum Nicole Chvatal, was recently featured in Deep Overstock. Read an excerpt below:


Love Languages

My mom’s is easy: She tells me I look pretty.

My lipstick’s love for me runs so deep I ingest a pound per year.

My brother drives a stick shift and brings me lobster 
he caught earlier. He soaks the clams for an extra hour 
to clean out any excess grit.

Dorner handwrites letters and her texts include 

the emojis I forget about: Peacock, air mail, fleur-de-lis.

My favorite jeans hold me in shape of me.

Read the poem in its entirety here: https://deepoverstock.com/2021/04/01/love-languages-nicole-chvatal/

Poetry faculty member Matthew Olzmann was recently featured in The Rumpus. Read an excerpt of “Like a Dish Rag Soaked in Bleach” below:

Like a Dish Rag Soaked in Bleach

this new pandemic or the next
or maybe some unknown future
contagion might comprehensively scrub
any of us from the Earth, the way
the waitress, comprehensively, wipes down
the diner’s counter two seats from me,
sprays the surface with Lysol, then
wipes everything away again. Spotless.

It’s late February in the first Year of the Virus.
In a month this place will be closed, and then next
it will no longer exist. But for now,
the experts say, Wash your hands; all will be fine.

So, if you should, coughing just once
into the concern of your elbow,
sit near me at this counter, then look up
to say, “What’s good?” I’ll say

the coffee is so good and also the cheeseburger
and you must try the vanilla milkshake.
The onion rings: excellent.
The jalapeno poppers: exquisite.
And here’s the sports page which says a guy
just broke the world pole vaulting record

and that is also good.  I don’t want
to ignore peril. I’m not trying to distract
from the threat of plague, war, or famine. Fate,
like a meteor whistling toward us.
I’m just saying it’s good

to have lived, even briefly, in a time when one’s vocation,
one’s destiny could be the use of a pole
to vault over a different pole
which, for me, seems bizarre, though less bizarre

than other sports, such as, let’s say, bog snorkeling,
cheese rolling, or “eel pulling”
which was basically tug of war with a live eel
and popular in the Netherlands in the 1800s.

Read the poem in its entirety here: https://therumpus.net/2021/04/national-poetry-month-day-1-matthew-olzmann/

2006 poetry alum Beverly Bie Brahic was recently featured in The New Criterion. Read an excerpt of Brahic’s translation of “The solitary bird” below:

photo of Beverly Bie Brahic (poetry '06)

The solitary bird (a translation)

The solitary bird
by Giacomo Leopardi

From the top of the old tower,
Solitary bird, you go on singing
To the countryside until the day dies;
And your song drifts through the valley.
Spring everywhere
Shines in the air and exults in the fields,
And seeing it disarms the heart.
You hear flocks bleating, herds lowing;
Happy, the other birds play together,
Ceaselessly turning in the cloudless sky,
Celebrating this gladdest of seasons:
You sit apart, pensive, watching it all;
No companions, no flights,
No show of joy, you shun their games;
You sing, and singing spend
The year’s and your life’s finest flower.

Read the full translation, as well as another, at The New Criterion: https://newcriterion.com/issues/2021/4/the-solitary-bird-a-translation

2021 poetry graduate Dane Slutzky was recently featured in Zocalo Public Square. Read an excerpt of “Call to Adventure” below:

Call to Adventure

After the car accident I bought the game :: now when I close my eyes I see the cliff-sides and dense tree cover, the fog shrouded island and the shimmering lake :: I keep busy collecting ore, mining it so I can buy things, special carrots and outfits for every type of extreme temperature or weather event :: I barely remember sliding backwards across the highway :: I’m 100% there collecting mushrooms and insects and killing reanimated skeletons :: the music still in my head face down on the chiropractor’s table, swelling to its jaunty crescendo :: heat on my neck, my shoulders finally slumping down from what feels like their permanent position by my ears :: I’m thinking strategy, what fortress to attack next ::

Read the poem in its entirety here: https://www.zocalopublicsquare.org/2021/04/09/dane-slutzky-poem-call-to-adventure/chronicles/poetry/

Fiction faculty member C.J. Hribal was recently featured in the LEON Literary Review. Read an excerpt of “The Buzz Kill” below:

The Buzz Kill

 Get a grip, Porter Atwood tells himself. This is no time to be acting like a fool.     
       Then again, there’s no time like the present.
       Which is why he finds himself seated on a stool just down from Luther Krake and some other men over at the Y-Go-By. Porter, deep in his cups, nods to Luther, who’s well on his way, as Alvin Beyes sets him up again.
       “You’re getting married tomorrow, ainna?” Alvin asks Luther. Luther nods this is so. Luther’s nearly sixty. Alvin pours him a shot and pulls him a draft. “This one’s on me.”
        Porter’s known people like these men all his life. Men—some women, too, but mostly men—who can’t quite get a grip on their life until they’ve squeezed with the pads of their fingers the fluted wet coolness of a seven ounce glass of beer in the velvety half-dark of a tavern. The word itself, rhymes with cavern. No matter how bright the day, it’s always full shade in a tavern—twilight at mid-day, with electric lighting and the slight buzzing of those neon beer signs. Almost like a different kind of pulse.
       Men like Wally Czabek, seated two stools over, a decent man given to periodic failures of focus. Men for whom the world only makes sense here, in the company of other men given to similar failures and weaknesses, men who find a kind of sullen joy in each other’s company, comparing notes on the conspiracy outside. “The world’s a mess,” says Wally Czabek, who orders himself another brandy Old Fashioned with a beer chaser, as though that is somehow going to fix things. In here it’s okay. It’s okay, really. It’s fine. Outside it’s wrack and ruin, and if the sun weren’t such a blinding rectangle of light each time somebody opened the door to join them, they could even forget entirely that that other crazy world existed. And then something would remind them, a wife phoning them or an errand remembered, some destination that required you to get off your barstool, and they’d go home, carrying their unspoken heartache and longing like a disease. Until it was time for the next afternoon’s transfusion, the bolstering of meaning and courage and perseverance that could only be gotten here.
       It’s this bolstering Porter’s drawn to. He’s been out of sorts for the last two weeks, ever since that kid drowned in his subdivision. Can’t concentrate, keeps thinking about how that kid ended up pinned beneath some branches in that little creek—barely a creek, really—the water tumbling over him, a bunch of other boys standing around with rocks at their feet and defensive, guilty looks in their faces. No, the two didn’t have to be connected, only they probably were. And Porter made sure, given it was their parents who bought his houses, bought them in his subdivision, and the drowned boy was from some cheap-ass rental unit somewhere else, that nobody, including Police Chief Jones, looked at this as more than an accidental drowning. There’s what you know, and there’s what you feel. What he knew was what was good for his business. What he felt was something else, and he tried not to think about what he felt.

Read the story in its entirety here: http://leonliteraryreview.com/issue-7-c-j-hribal/