An excerpt from “In the Field: Conversations with our Contributors” with Angela Narciso Torres (poetry, ’09), published at  Water-Stone Review:

In the Field: Conversations with our Contributors with Angela Narciso Torres

1. Tell us about your poem in Volume 20. How did it come to be?

I was in a workshop with Terrance Hayes and we were looking at definition poems. So when I got home I tried to write one. I thought I’d take it a step further and use the various definitions of the word “between” in a sentence, as you often see in a dictionary. Inadvertently, the sample sentences somehow started to form a kind of narrative. Being a writer with a strong narrative bent, I’m always interested in finding ways to subvert the traditional linear trajectory of storytelling. Using the nonliterary form of the dictionary entry was a fun and sneaky way to do this. The use of blanks came later—I thought it would be interesting to leave spaces in the poem, inviting the reader to participate in the poem’s meaning-making. This gave the poem an element of surprise and unintentional humor, as I’ve found when I’ve performed this poem in readings.

2. What was an early experience that led to you becoming a writer?

As far back as I can remember, I’ve always loved writing in little notebooks. I read the Diary of Anne Frank when I was about nine and have been a diarist ever since. My first diary was a small clothbound Hello Kitty notebook with a lock. I wrote down everything in my Catholic schoolgirl script, even the most mundane things, addressing them to an imaginary friend named Daisy, e.g. “Dear Daisy, Today I woke up, brushed my teeth, and played with my dog, Wiglet . . .” and so on. Being an avid reader, I also enjoyed copying down esoteric quotes from books I’d read, whether or not I grasped the full meaning or implication at that tender age. e.g. (from The Little Prince) “It is only with the heart that one can see rightly. What is essential is invisible to the eye.” Back then it was more about the pleasure of getting things on paper than about the writing itself, then later looking back at how the pages filled up and made the shape and story of a life—my life! I was a serious, introverted child with a small circle of close friends and a huge inner life, prone to daydreaming. Most of the time, I felt “on the fringe of things,” an observer, looking on. I think this all made fertile ground for becoming a writer.

 

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An excerpt from “Storm, Lake Superior” by Ethna McKiernan (poetry, ’04) published at Poetry Ireland:

Storm, Lake Superior

If ever I were ever to fall in love
again, it’s likely not
to be with someone human,
but with a moment just like this one –

a lit expanse of water during storm
forked by lightning from sky to lake,
some crazed colour between silver and white –
light flashing staccato below a grey band

of clouds, waves that bluster in
while wind billows and thunder rumbles
deep. There I’d know a hum
of both aloneness and connection,

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An excerpt from “Iguana Iguana” by Rebecca Foust (poetry, ’10) published at the Massachusetts Review:

Iguana Iguana

Iggy was sweet. Everyone in the family said so, even if they didn’t share the boy’s belief that the iguana also was beautiful, with skin the milky shade of a raw lima bean, and along his spine a line of mauve dots, each ringed with an apricot halo. Picked up, he’d stretch along your forearm placid as cat sleeping on a sill, breath concaving his throat and inflating it again in a great, pale bubble. Bubble, blink. Bubble, blink. The boy sometimes stood like that for an hour or more until his arm went numb.

His mother found reptiles repulsive, but she was grateful that this one at least was not a meat eater. She couldn’t have faced buying live moth larvae, or worse, frozen mice embryos horribly called “pinkies” that had to be thawed then prodded with a broom straw to fool lizards into thinking they were stalking live prey. And, unlike the three-foot monster her brother-in-law had once kept in a bathtub, Iggy didn’t seem to be growing very fast.

Leslie had to admit that the lizard was a good friend to her son, for whom friends were in short supply even with expectations that shrank with each passing year. Small for his age, he avoided the team sports that bonded his fifth-grade classmates and after school generally went to his room to play video games or sit at the kitchen table to draw or do homework.

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An excerpt from “Realistic Absurdity in DeLillo’s WHITE NOISE” by Christina Ward-Niven (fiction, ’18) published at Craft:

Realistic Absurdity in DeLillo’s WHITE NOISE

There is so much to admire, craft-wise, in Don DeLillo’s classic novel White Noise: compelling, empathetic characterization; sharp dialogue; handling of theme through plot and subtext; a tone that consistently weaves wryness with heart. In this essay, however, I’m going to focus specifically on one aspect of the book I find most intriguing, as a writer: White Noise’s unique, slightly askew form of realism—which is not quite realistic, but also not wholly unrealistic or surreal. How does the author pull this off?

My copy of the novel features a blurb from Lev Grossman of Time that reads, in part: “Though it’s pitched at a level of absurdity slightly above that of real life, White Noise captures the quality of daily existence in media-saturated, hyper-capitalistic postmodern America so precisely …” I agree, and I’ll use this quote as a jumping-off point. Before I examine the “how,” I’ll consider the “why”—why might an author aim for this quality of slight absurdity? How does it serve the narrative? Why not write in straight realism? One reason may be that slight strangeness adds consistent interest to a narrative that is, in part, simply about the mundane—the dailyness of family life in modern America (supermarkets, TV commercials, tabloids, kitchen conversations)—a topic that by its very nature is at risk of being overly quotidian, if not outright boring. White Noise also centers on a quirk-filled but caring, functional family, featuring spouses Jack (the book’s first-person narrator) and Babette who openly, deeply love each other (even Babette’s eventual infidelity is rooted in spousal love!) and love their children—a subject choice that also risks boredom and/or sentimentality. Yet the light weirdness of the characters, their interactions, and their reactions, make this loving family both familiar and excitingly unpredictable.

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An excerpt from “All Fun, No Joy” by Eric Rampson (fiction, ’16) published at Leaf Land:

 

All Fun, No Joy

Dave looked forward to seeing Kendra in her bathing suit. She was the only WaterWigglers mom that wore a two-piece. Kendra was in shape but not a supermodel or anything. Her butt was substantial, the backs of her thighs a bit dimpled, her belly slightly rounded between the top and bottom of her suit. Dave thought she looked damn sexy, though, with her dark hair in a bun—probably, he figured, to keep it dry—and her glasses on even in the water. There was something of the naughty schoolmarm about her: the severity of those cat’s eyes frames and the tightness of the bun contrasted with her ample cleavage and the way the seat of her suit rode up just a little when she got out of the pool. Dave had become adept at exiting the pool just far enough behind her to watch unnoticed. She’d hook a thumb under one edge of her bottom and pull it lower, shift her daughter to her other arm and do the same on the other side. Sometimes, depending on the angle, Dave would get a quick glimpse further up her suit as she pulled on it.

Kendra’s daughter was Penelope. Dave knew this because the other mothers said, “Hello, Penelope,” while waving the chubby arms of their own children. He knew the names of all the babies in WaterWigglers—Penelope, Smythe, Jaiden, Janessa, Tom, Dinah, Mary, Paulo, Ricky. Dave said hello to each of them, too, waving his son Declan’s chubby arm. He made a point of learning the babies’ names day one of a new session since there was so much turn over, a mostly new crop every nine weeks. This session the only holdovers were himself, Kendra, and a strange Ukrainian woman who always wore curlers in her hair during class. He knew all the kids’ names but not a single one of the mothers’. Even Kendra’s. Kendra was just what he called her. He had settled on it because he had never heard the name in real life. It gave her the aspect of a dream, made her strange. Dave liked that.

Dave was the only father in the WaterWigglers class. The only man in a pool full of women. Well, aside from Jamieson, the instructor. Jamieson had obviously been a competitive swimmer, maybe still was. When he lifted his arms, his lats looked like tiny, washboard wings. Dave knew he, too, had lats. He must have. Even so, when he lifted his arms in front of the huge mirror in his master bathroom, all he saw was flesh puddling above his waist.

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An excerpt from “God of Mildew” by Peter Schireson (poetry, ’17) published at The American Journal of Poetry:

God of Mildew

Like a caper in an old movie—

piquant, a couple of martinis, a hint of grace—

our conversation snakes through

a disarray of language in the dark restaurant.

Thinking grinds its meanings.

I begin to tell it.

I wake at two or three a.m. most nights, grumpy, leaden-eyed, sweat in elbow creases, behind my knees, around my neck. Sostenuto of tidings from the body. One night last week, I was hungry for olives. Eating them, I thought about sunlight on olive trees, then thought, It’s a mistake to think so much, just eat the olives. Then I thought, Thinking that thinking is a mistake might also be a mistake. I bought a nightingale. All night it sang and flew around.  Fucking nightingale!

I try to imagine beautiful futures,

old cities in leaf like ancient trees.

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An excerpt from “Durer’s ‘Saint Jerome in His Study'” by Chloe Martinez (poetry, ’09), published at The American Journal of Poetry:

Durer’s “Saint Jerome in His Study”

from the 1514 engraving, Metropolitan Museum of Art

Translator hunched, haloed, slant

of light, bottleglass windows lining

the casements with little sun-targets

and a skull beneath them, and Christ

tiny on his desktop cross, and along

the back wall, each thing in its place:

scissors, sunhat, time in the hourglass,

rosary on a hook, and one enormous

gourd suspended on a rope from the ceiling,

calligraphy of drying vines. The lion and dog

repose in the foreground. The trestles

of his worktable: etched in all their specific

solidity, their shadows at rest on the floor.

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An excerpt from “The Hotel Eden” by Beverly Bie Brahic (poetry, ’06), published at The American Journal of Poetry:

The Hotel Eden

      after Joseph Cornell

Fragments of a life, protected under glass:

A parrot on its perch, a crock of corks. Butt-end of an egg.

The spring from a gutted clock.

This poster for Eden

Scorched and brittle as a boy’s treasure map.

            On the tip of God’s tongue, the bird waits to be named.

            Profoundly silent, the taxidermist’s shop.  ‘If only,’ thinks the bird.

            If only what?

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An excerpt from “I Always Thought I was Fine with not Becoming a Father. But Then I Wasn’t,” by Geoff Kronik (fiction, ’12), published at The Boston Globe:

I Always Thought I was Fine with not Becoming a Father…

We pose in July sunshine, my wife and I and the two girls. The older one is 6, the younger 3, and with their bright eyes, dark hair, and shy smiles, they’re as drop-dead gorgeous as people always said our kids would be.

Except they’re not ours. The photo, from an outing with friends, depicts the family we only might have been. The friends lived nearby one summer, and we grew to love their little girls. I looked at the photo later that day, and for a long while after I wished I hadn’t.

We had spent the afternoon on the Common, and at one point the older girl asked me to take her on the merry-go-round. Afraid of falling off, she insisted that I hold her throughout the ride. “Don’t let go,” she said, and soon I realized I didn’t want to — ever. I’d never taken a child on an amusement ride, and now countless other things not done, and never to be, suddenly crashed down on me. If anything, I held on tighter. The ride ended, the girl ran back to her parents, and my sense of loss was palpable. […continue reading here]

An excerpt from “Checkpoint” by Andy Young (poetry, ’11), published at Waxwing:

Checkpoint

The South Sinai Police Chief had spotted the beard. We’d been waived right through the military checkpoint — the kids and I on the side of the car closest to the dust-colored outpost. Collectively, the kids and I look American when we are in Egypt, though the kids are half-and-half, or nusaballah,half-donkey, as the family likes to joke. There were far more uniformed men than it seemed there needed to be for the rolling acres of sand that generally required so little from humans. Some stood, some sat, some leaned in the doorway. As we drove through, Khaled was sitting by the window on the other side of the van, the side the police chief happened to drive past at that very moment. He spotted Khaled and yelled over at the younger men in their desert camouflage to stop the van.

The officer, who’d been smoking in the metal folding chair, the smoke streaming around his thick mustache, stood and leaned into the passenger window, peered back at us, and fixated on Khaled. After a nod to the soldiers behind him, the van door gave a rumbling, sliding noise as the officer opened it. […continue reading here]