An excerpt from “Holy Grounds ” by Avra Elliott (fiction ’15) published by Waxwing.

Holy Grounds

When Eddie’s sister Colleen first told him of Harold’s death, he’d pictured the old writer in a smoking jacket sitting in an overstuffed burgundy armchair, worn novel in his lap, a cigarette — or perhaps cigar — smoldering in a crystal ashtray beside him. As Harold drew his last breath, his soul, a grey version of his body if classic films were to be believed, would stand up and walk into the arms of one of Harold’s dark-haired damsels. That seemed the natural death of an aging, chain-smoking Western mystery writer. To hear a year after the fact that his friend had been killed by an insane man in a park, his face broken by a two-by-four, was to realize he’d been viewing life through a kaleidoscope. With the smallest shift what he knew to be a circle shrank into a dot and exploded into new patterns of nameless shapes and colors. Eddie began to suspect his favorite jacket had been stolen, not misplaced, and when Colleen said their father had sold the family home a few months before, she meant burned it to the ground.

[… continue reading “Holy Grounds” at Waxwing.]

An excerpt from “Del Rio Elementary ” by David Rutschman (fiction ’02) published by Waxwing.

Del Rio Elementary

With a sudden blazing clarity I saw that we were living wrong. Our bodies were made to roam the plains, I thought. But we have murdered and despoiled …

I was eating lunch from a plastic molded tray. My parents were getting divorced. Kids shouted and laughed around me; chairs scraped. Sometimes this happens, my mom had said. It definitely wasn’t my fault.

Our elders are fearful and without wisdom, I whispered. I leaped to my feet and spoke louder: They tremble at shadows!

[… continue reading “Del Rio Elementary” as well as another fiction piece, “Uncle” at Waxwing.]

Hear Patrick Donnelly (poetry ’03) read from his new book Little-Known Operas, published in February by Four Way Books.

An excerpt from the poem “Picture from the Group of Seven” from Music Lesson, a new book by Kristen Staby Rembold (poetry, ’06), published by Future Cycle Press.

Picture from the Group of Seven

I have often stopped on the landing
to stare at this framed print
of a bountiful garden past maturity.
I would stop and think of melancholy.

But why melancholy?
Is it something about the faded hues
of mustard and olive and off-red?
Maybe it’s the black outlines,

as in an etching or engraving,
but coarser and blacker,
like block printing, with channels
cut by a body leaning on a chisel–

a tool for digging
like the hoe that must lie just offstage
from the picture, waiting to turn
the composting leaves into soil.

I think I recognize this place,
or at least this frame of mind,
with the garden just past the peak of all its glory–
its heavy fruits and brilliant petals–

sometime in mid-August
before the cool of fall sets in,
the shadows and undersides becoming visible,
manifested by crosshatches and lines.

Sometime while I wasn’t looking,
busy with preparations, engaged in my work,
it happened. No more than the complications
that arise in an ordinary life:

faults, illness, sadness, a child’s failure to thrive.
I pause on the stairs to think of these things…

The MFA Program for Writers Southern California Alumni Group has launched a reading series and we are so very excited to hear you read your work! The series is open to all alumni of the Warren Wilson MFA program living in Southern California, as well as all Warren Wilson MFA graduates and faculty passing through. Readers for The Sprawwl will not be judged, but will be lightly curated by the committee for variety, balance and inclusion. Each event will feature two poets and two prose writers. Whether you are a recent grad or a well-established writer, we want to hear from you. We can’t wait to connect and reconnect our awesome community of writers at Warren Wilson!

Our first event will take place at Boston Court Theatre in Pasadena on Sunday, June 2, 2019, from 3-5 p.m. A casual reception will follow the readings, and if we still haven’t gotten enough of each other, we can continue the fun at a local restaurant. A second event is being planned for December at Beyond Baroque in Venice. We will send out a new call for submissions and more details closer to the date. Meanwhile, if you’d like to read in June, please send us your workl!

Submission Guidelines

If you write fiction, please send 5-10 pages and a short bio to [email protected].

If you write poetry, please send 3–5 poems (no more than 10 pages) and a short bio to the same address.

Your submissions should reflect the kind of work you plan to read and should reach us by March 15, 2019.

It is our hope that writers chosen for The Sprawwl, whether residents of Southern California or passing through, will commit to supporting and growing the Warren Wilson Southern California Alumni Association through attendance at meetings, volunteer work, and/or donations to Friends of Writers.

Looking forward to seeing and hearing you soon!

The Reading Committee

An excerpt from “Letter to the Person Who During the Q&A Session After the Reading Asked for Career Advice ” by Matthew Olzmann (poetry ’09), published by Waxwing.

Letter to the Person Who, During the Q&A Session After the Reading, Asked for Career Advice

The confusion you feel is not your fault.
When we were younger, guidance counselors steered us
toward respectable occupations: doctor, lawyer,
pharmacist, dentist. Not once did they say exorcist,
snake milker or racecar helmet tester.
Always: investment banker, IT specialist, marketing associate.
Never: rodeo clown.
Never: air guitar soloist, chainsaw
juggler or miniature golf windmill maker.

[… continue reading “Letter to the Person Who, During the Q&A Session After the Reading, Asked for Career Advice” as well as three other poems by Matthew Olzmann at Waxwing]

Melissa Berton (left) and Rayka Zehtabchi at the 2019 Academy Awards
https://www.youtube.com/watch?v=7PCt_WE6mqI
Melissa Berton (poetry ’93) and Rayka Zehtabchi accept the Oscar for Documentary (Short Subject) for their film “Period. End of Sentence” at the Oscars 2019.

Melissa Berton (poetry ’93) and Rayka Zehtabchi post-win interview.

Learn more about Melissa Berton (poetry ’93) and her work on the film “Period. End of Sentence.”

Tiana Nobile (poetry '17)

An excerpt from “Why I Stay” by Tiana Nobile (poetry ’17), published by Vandal Poem of the Day.

Why I Stay

In spite of the summers with heat so thick you could cut it with a knife.

I stay even though sometimes it feels like everything is out to get you.

Even though I let the night swallow me whole. Even though I got grass stuck in my spokes.

Because I’ve never had a good enough answer for where I’ve been, where I’m going.

Because belonging is subjective, and I will find my way out of the mud.

[…continue reading “Why I Stay”]

An excerpt from “Study of Two Figures (Pasiphaë/Sado)” by faculty member Monica Youn in Poetry.

S

Study of Two Figures (Pasiphaë/Sado)

One figure is female, the other is male.

Both are contained.

One figure is mythical, the other historical.

To the extent that one can be said to have existed at all, they occupy different millennia, different continents.

But, to the extent that one can be said to have existed at all, both figures are considered Asian—one from Colchis, one from Korea.

To mention the Asianness of the figures creates a “racial marker” in the poem.

This means that the poem can no longer pass as a white poem, that different people can be expected to read the poem, that they can be expected to read the poem in different ways.

To mention the Asianness of the figures is also to mention, by implication, the Asianness of the poet.

Revealing a racial marker in a poem is like revealing a gun in a story or like revealing a nipple in a dance.

[…continue reading “Study of Two Figures (Pasiphaë/Sado)“]

An excerpt from “Sky” by Francine Conley (poetry ’14), published by Sky Island Journal.

Sky

I. You put Joy of Cruelty in my hands, which I devoured nights, stopping to brush my fingers over the ghost-thin notes you scribbled.  I learned you in margins, studied your doodles like paintings, asterisks drawn like taraxacum––floret-shaped dandelions you penciled next to unknown words like arduous, beatitude.  What was it you didn’t understand? I stopped at the underlined phrase: joy is the necessary condition if not of life in general at least of life lived consciously and with full awareness. For you eye contact was impossible. It made you self-conscious.  Being seen is unbearable but necessary, you said, before asking me out to sup at the Sample Room.  You ordered steak tartar, offered me a bite.  I refused, radiant pastures rising in my mind, the otherlife of cows, savage trust of their wet eyes––that look of not-yet-dead-to-be-dead.  Raw is the only way to live, you said.  Quick glance at me, then the wallpaper, your eyes browning to the color of peeled bark.  I studied your face like a murmur.  Couldn’t look away as you told stories of suburban agony; a distilled childhood, useless as a two-car garage, the affection your parents avoided showing each other teaching you love as endurance, absence.  When you swallowed your eyes closed into a broken kind of ecstasy, pitting desire against disgust.  I fell in love when you licked the plate clean.  Later, we smoked at an overlook where below the Mississippi churned its quiet terror, swell and flow.  A fall carnival on the opposite bank blinked neon.  Rides rose, fell.  Screams perforated air.  Every surface moves, whether we notice it or not––I said: tabletops, rivers, faces, words.  Nothing is neutral.  The Ferris wheel inched along, our unspoken desire swilled, quietly, steam from our breathing already visible in the crisp night air.  

[…continue reading “Sky”]