An excerpt from “On Poetry and the Necessity of Aimless Wandering,” an interview with Alan Shapiro by Amanda Newell (Poetry ’17), published by Plume.

AN: “In his recent essay for Plume on the prose poem and other hybrid forms, Chard deNiord observes that “[i]n the irrepressible, ever-evolving, experimental process of ‘making new’ many poets today are finding the traditional line inadequate for expressing and/or accommodating their urge for adopting liminal and hybrid forms that obviate the line. Which raises the question: how can a poet write poetry without lines?”

I have noticed that much of your recent work, including several selections for this feature, are prose poems—or at least what I would categorize as prose poems. And yet, you are someone who pays fastidious attention to the traditional poetic line as well, which we can see in “Ghost Story.”

Can you talk to me about your approach to the poetic line, and take a stab at answering that question—that is, how can a poet write poetry without lines?”

AS: I don’t know if I have an “approach” to the line. The line is only “a line” in relation to a sentence or a phrase it either reinforces or interrupts. And the line itself will vary to the degree it either reinforces or interrupts that phrase or sentence. And the effect of those various interruptions and/or reinforcements will depend on the lines before and after them, on the larger patterns of relation they either depart from or approach. For me it all comes down to pattern and variation, variation that depends on pattern for its significance.

Same holds true of a prose poem. Even without the line, you still have to establish some kind of pattern that suggests its own completion, some expectation of recurrence you can upend, modify or adhere to in varying degrees at every point in order to vocalize or enact a felt change of consciousness. Every sentence is a form or pattern in and of itself—that arouses grammatical expectations, that promise certain directions and outcomes which are either realized or disappointed.

The long sentence makes the short sentence that succeeds it more conspicuous, a loose sentence which begins with a main clause and then tacks on list-like a series of dependent clauses in apposition creates an open-ended expectation that it could go on forever. Depending on context, it could enact a feeling of indeterminacy, or a feeling of excited or oppressive abundance, ecstatic noticing or crushing boredom; whereas the antithesis of a loose sentence, a periodic sentence whose dependent clauses come at the beginning, its main clause at the end, seems more conducive to increasing degrees of anticipation, to the build-up of tension, since the longer you defer or suspend a main clause the more we’ll long for it and the greater sense of fulfilment we’ll experience when it finally comes. Likewise, complete sentences potentially intensify the effect of sentence fragments; just as a passage comprised of fragments will make whatever full sentence that follows them that much more surprising or emphatic.

There are, what, six kinds of sentences one can write: loose, periodic, compound, complex, compound-complex, and simple (seven if you count the fragment). You can’t set up an effect without setting it off from something else. In a prose poem the sentence is the principal expressive resource for enacting or embodying. A prose poem (like all poetry, like all art I would argue) depends for its life blood on pattern and variation. In a prose poem that expressive tension arises primarily (not exclusively) from the interplay of sentences whereas in lineated poetry it arises primarily (not exclusively) from an interplay of sentences and lines…”

Continue reading the interview here: https://plumepoetry.com/on-poetry-and-the-necessity-of-aimless-wandering-an-interview-with-alan-shapiro-by-amanda-newell/

Karen Smyte’s story “Muscle” was a winner of the 2019 Short Short Fiction Prize and originally appeared in the Winter/Spring 2019 issue of The Southhampton Review.

The summer I turned sixteen, I slept with my rowing coach. It was the first time I had sex in the way it happens sometimes, as a surprise. We were at his younger brother’s funeral, my first boyfriend, then we were along the canal bank, on his suit jacket, me tightening my muscles around him.

Joe had his reasons, or didn’t. He reminded me enough of Mike, straight angles everywhere, cheekbones, rib bones, hips sharp. I needed to stop the loop in my head of Mike loping to the dock, four blades on his shoulder, and the impossible grace he displayed setting them down.

Read the rest of the story here: https://www.thesouthamptonreview.com/tsronline/2019/11/26/muscle

“Coyotes” by Terri Leker (fiction 17) won the 2019 New Ohio Review Fiction Contest, selected by Claire Vaye Watkins. It was published in New Ohio Review Issue 26.

The coyotes moved into the woods behind my house just after I learned I was pregnant. On a quiet June morning, while my husband slept, I pulled on my running shoes and grabbed a leash from a hook at the back door. Jute danced around my feet on her pipe-cleaner legs, whining with impatience. It would have taken more than this to wake Matt, but I hushed her complaints with a raised finger and we slipped outside. A light breeze blew the native grasses into brown and golden waves as we wandered, camouflaging Jute’s compact frame. She sniffed the dirt, ears telescoping as though she were asking a question. When we reached a shady thicket of red madrones and live oaks, I unclipped the leash and wound it around my wrist.

It was over with Richard, had been since I’d found out about the baby. Anyway, I had come to believe that adultery sounded more illicit than it actually was. Between managing my schedule with Matt and making time to rendezvous with Richard, an affair often seemed more about time management than sexual gratification. I was meticulous with the calendar, but I would have known that the baby was Matt’s regardless, because Richard’s sperm could not locomote. He had told me so early on, while showing me the master bedroom of his faithfully restored North Oakland Victorian. His unexpected disclosure had interrupted my admiration of the exposed brick walls, so unusual for the earthquake-conscious Bay Area. Matt was having dinner just then with friends, thinking I was helping my mother set up her new television (she would be dead within a few months, but we all pretended to be optimists then), so he was eating eggplant parmesan at the Saturn Café as I lay with Richard on his king-sized bed, hearing words like motility and capacitation. Richard’s sober tone had suggested that I might comfort him in his sterility, which I did, if the definition of comfort was a passionate encounter that lasted as long as one might spend unboxing a 48-inch HDTV and connecting it to both Netflix and Hulu. But Matt and I had tried to have a baby for three years, so I took the pregnancy as a sign to recommit myself to my husband, who, predictably, jumped up and down on our unmade bed when I shared the news, attempting, in his white-socked excitement, to pull me up with him, not realizing that doing so might judder the bundle of cells loose, delivering me back to Richard and a childless but aesthetically pleasing life.

Read the rest of the story here: https://newohioreview.org/2019/12/13/coyotes/#more-2578

Shannon Winston (poetry 18) has two poems in the current issue of CITRON REVIEW. Here is an excerpt from “The Spinners:”

Early on, I learned how to put a spin on things—
     something I picked up from the spinners in my hometown.

Me, the quiet observer who watched artisans
     at fairs and in storefront windows turning batting,

spool by spool, into fine, magnificent strands.
     Magenta, turquoise, purple—the seamlessness of it all.

Read the rest of “The Spinners” and the poem “Peer” on (or near) this link https://citronreview.com/2019/12/21/the-spinners/

Alyson Mosquera Dutemple’s story “Prix Fixe” was nominated for a Pushcart and appears in the latest issue of FLOCK.

It was May, but the trees outside the restaurant didn’t seem to know it.  Their blighted leaves shuddered and fell, lending an autumnal feel to the air even before Mary took me out to dinner and announced that she wanted to leave me.

“Stephen, I’ve thought long and hard about this, and… Stephen?  I need you to listen,” she said.

A waiter had walked by. “I’m worried about you, Stephen,” Mary began, and though I tried to focus, there was something about this waiter, this kid, that caught my eye.  The way he bounced up a little on his toes as he walked.  That nervous jump at the end of each step.   The same skipping motion, the same funny little stride.  It reminded me of our boy, Everett.

“Stephen? Are you listening to me?” Mary’s voice rose.  “Now see?  This. This is exactly what I’m talking about.”  She rattled the ice in her glass.  “I can’t stand it.”

Out of the corner of my eye, I could see the waiter, the one with Everett’s walk, standing just a little way off from our table, patting down his pockets.  “You tune me out,” Mary continued. “Whenever I bring up—” Her words rumbled indistinctly around me, a storm on the horizon, the wing-beat hum of locusts.  “It’s like you’re trying to be distracted all the time.”  I watched as the waiter brought a tiny notebook from his pocket, the kind used to write down orders in a restaurant.  I wondered if there was a name for such a book.  I wondered why I hadn’t asked Everett if there was a name for such a book the summer he worked on the pier washing dishes. Back when he was saving up for college or for whatever else he thought, we all thought, might have come next.

Read the rest of the story here: https://flocklit.com/fiction-dutemple-prix-fixe/

Lia Greenwell’s (poetry 13) Pushcart Prize-nominated essay “Your Soul Doesn’t Need You” appears in Southern Humanities Review issue 52.4. The essay recounts a traumatic event in which Greenwell was carjacked at gunpoint, midday, at a gas station in a small town. In an interview, Greenwell discusses the different ways she has written about this trauma, the stranglehold of fear, and both the limitations and possibilities of form and genre.

Read the interview with Lia here: http://www.southernhumanitiesreview.com/interview-lia-greenwell.html

And read an excerpt from the essay here: http://www.southernhumanitiesreview.com/524-lia-greenwells-your-soul-doesnt-need-you.html

An excerpt from “Interior with Young Woman” by Susan Okie (poetry ’14), published by Valparaiso Poetry Review.

Interior with Young Woman

A borrowed house awaited,
empty but warm with intention—
soft white rugs for bare feet,
orange cushions posed on sofas.

A woman by Picasso kept one eye
on us. The other watched the lights
down in the valley. He played me
music from his country, asked

to dance. Awkward, I shuffled
to the beat. When he held me,
my body recoiled. I was a crane,
he a rooster, glossy, compact.

[…continue reading “Interior with Young Woman”at Valparaiso Poetry Review.]

An excerpt from “First” by Lillian Cummins (fiction ’19), published by West Branch.

First

Hot, dry Friday night, late September in Texas. Callie, Mina, and Emma get ready for the football game. Constrained during the week by the plaid skirts and button-down shirts of the St. Agnes School for Girls, they go all out. Callie pulls Emma’s purple miniskirt off and tosses it to Mina, sitting on the bed. Callie hates that she keeps getting taller. The skirt’s too short for her, and it’s too tight for Emma, who’s all boobs and hips. Mina’s Chinese so she’s small. She could maybe get away with it.

Emma leans into the mirror; her damp breath steams the surface. Her eyes take shape as she lines them in black. Pale and blonde, she’s a couple of shades away from disappearing altogether. The girls are at Emma’s house because she can take the car wherever, whenever she wants. Her parents are too busy getting divorced to notice.

“Anything else?” Callie says.

Emma’s pulled-down lower eyelid is a blood-red crescent moon. She rolls her eyeballs toward the closet. The accordion doors are hinged wide open, and a tongue of clothes spills out, licking the soft blue carpet. “Cropped jacket and matching shorts,” she says, circling the eyeliner above her head. “All black. Super cute.”

Callie pushes at hangers while Mina’s attention gets caught by an orange stain on her khaki shorts. “Damn,” she says. She licks her thumb and rubs the stubborn cotton.

“Try the skirt, my dear,” Emma says. She bats her eyelashes, thick with mascara, but Mina ignores her, scratches a bitten-down nail against the dry clot. The scraping is like ripping cardboard. The purple miniskirt lies abandoned on the bed, lapping against Mina’s bare, brown calf.

These are Callie’s best friends. She didn’t dare hope for friends at this new school. Last spring, when Aunt Rosa brought home two heavy plaid skirts, Callie didn’t know they were from St. A’s second-hand sale. Aunt Rosa held one up to the light and nodded with the kind of conviction that would make any fifteen-year-old nervous. “Ain’t so thin you can see right through them,” she said.

[…continue reading “First” at West Branch.]

An excerpt from “Tin Boy” by Sumita Mukherji (fiction ’15), published by Failbetter.

Tin Boy

My mother called herself a modern-day witch. With all of her poultices and potions, I thought of her more as a mad scientist. But I should have thought of her as a magician, because one day she disappeared.

That day started like many others. It was one of those California valley summers that extends into the fall, the kind that leaves you thirsting for your mother’s limeade all day and dreaming of ice castles all night. On our walk home from sixth grade, the sun, having scorched the ridge where my nose had once broken, burned the back of my stringy neck and parched my friend Jenny’s delicate throat. At the end of my cul-de-sac we paused and tapped at our injured skin, making mock sad faces at each other.

My sweaty San Francisco 49ers t-shirt fell to the middle of my thighs, over my loose gray shorts. At age eleven I was double-jointed, and as Jenny and I climbed the porch steps, I bent my arms forward and backward, aiming to impress my mother, who used to adore my awkwardness and loved watching me journey home from her bedroom window. “My sweet, tottering son,” she would say as a greeting at the front door. She adored it until a few months ago, when my father was legally allowed to stop sending alimony payments, and she quit her job at a marketing firm so that she could devote her days to herbalism and witchcraft.

[…continue reading “Tin Boy” at Failbetter.]

An excerpt from “La Creel” by Andrés Reconco (fiction ’18), published by West Branch.

La Creel

My mother was obsessed with soap operas and pan dulce. One day, after my photo shoot, I went to a panadería she likes. It’s a Cuban place with little sweet breads stuffed with guava and cheese. I hadn’t planned on visiting her, but the photoshoot went well and it’s still early. My mom likes to drink coffee late while she watches television, so, I buy some sweet bread and then drive to her apartment. The lock to her door is tricky but after a couple of tries I get inside. She’s on the couch, watching a show about the best Telenovelas of the 80s and 90s.

“Trajiste pan!” she says when she sees me come in. It’s not cold but she’s wearing a burgundy sweater and she has a blue fleece blanket draped on her legs.

“Son panecillos cubanos,” I say. “The ones you like.”

 She looks into the bag and says, “Que rico. Voy a poner el cafecito.”

 I don’t see her often but whenever I do I can’t help but focus on the deepening creases around her eyes, the thinness of her hair, the way her skin is so dry it looks shiny, like scales. She grunts when she gets up from the sofa, and then grunts again when she bends over to get the pot for coffee. While the water heats up we sit in front of the TV and watch reruns of old novelas.

“Uy,” she says. “That novela came out when I was thirty! Look at how young Veronica Castro was! Wow. You know, she still looks really young but that’s only because she can pay for it. Rich people don’t get old. I’m getting old. Everything hurts now.”

Behind us the water begins to boil.

The coffee she makes comes in little yellow packets we empty into our cups of hot water. It tastes terrible but I drink it anyway.

“This coffee is really good,” she says. “I’ll buy you some for your house. Does Sofia drink coffee? I forget.”

[…continue reading “La Creel” at West Branch.]