An excerpt from “Appalachians Run Amok” by Adrian Blevins (poetry, ’02), from her book, Appalachians Run Amok, and featured at Two Sylvias Press:

 

 

Appalachians Run Amok

Another thing the Appalachians don’t like to talk about
is the creepy extent to which they adore the way they talk
alone in the shower & just walking around in their bandanas
versus how much they obviously meanwhile sort of also
secretly hate the high notes of their own hill-kitschy prattle,
especially if we’re talking halfway psychedelic Appalachians
from mid-century America born in 1937 in Southwest Virginia,
& as it happens we are talking halfway psychedelic Appalachians
from mid-century America born in 1937 in Southwest Virginia
as we are talking as usual about my father who worked so hard
to assimilate & become a mutt when he traded in his wind-up radio
for certain unnamed urbanites & fake movie stars in the theatres
& bars of Richmond, Virginia, where Daddy went to college […continue reading here]

An excerpt from the poem “Work” by Peter Schireson (poetry, ’17), available at The Ekphrastic Review:

 

 

Work

“When you paint Spring, just paint Spring. Painting willows, plums, peaches, or apricots is painting willows, plums, peaches, or apricots. It is not yet painting Spring.”  –Dogen

Evening lights began to blink,
still, day held light enough to paint
a man in a car parked on Hollywood Boulevard
eating his way through a bag of plums.
Later, at Zuma Beach washed up onto the sand,
a horseshoe crab, piercing tail intact. […continue reading here]

An excerpt from the poem “The Sand Dollar Inn” by Beverly Bie Brahic (poetry, ’06), from her new book, The Hotel Eden, as well as published in the current issue of Poetry Ireland, and available at Poetry Daily:

 

 

“The Sand Dollar Inn”

Here, engraved in someone else’s
name, is a bench where we can sit
and watch the waves go in and out.
Lean back, sop up the horizontal sun
trawling west across Georgia Strait.
Why don’t I leave you here?[…continue reading here]

An excerpt from the poem “Golden Shovel for Chicago” by Mike Puican, (poetry, ’09), published by Linden Avenue:

 

 

 

“Golden Shovel for Chicago”

City of car alarms, a chair flying through a second floor window—no one asks if
there’s a story. Cigarettes in a doorway, congregation at Sunday service holier than thou

but not indifferent to the braided cable of voices calling for change to be
now. A young mother hand printing FIGHT FOR $15/HR with plans for more

than quilts on the floor or cardboard covering the car window, with hopes for more than
watching the boy shot 16 times or listening to explanations of city officials who hate […continue reading here]

An excerpt from the flash fiction story, “At First Blush,” by Peter Schireson (poetry, ’17) in Vestal Review:

 

 

“At First Blush”

At first, it’s a straightforward portrait, the subject viewed with detached scrutiny from the waist up. Adamantly upright posture, well-cut jacket, background in soft focus, all combine to give the portrait a photographic quality. Studied more closely, the image is less clear-cut. Viewed from one angle, the subject is a man, delicately traced in meditation. […continue reading here]

An excerpt from the poem, “Future Perfect,” one of four poems by Beverly Bie Brahic, published in The Manchester Review:

Future Perfect

Yesterday he thought the future
was a tense they taught you in school
where if you make a mistake
it isn’t the end of the world.

Well he learned his lesson
God now give him
his book bag back
let him be on his way home again

no voyous at the construction site
taking his back pack
his brand new anorak.
And no telling Dad […continue reading here]

An excerpt from the poem, “The Salt,” by Peter Schireson (poetry, ’17), published at Construction Literary Magazine:

 

 

 

“The Salt”

I set out to attain nothing more
than myself, and before long,
had no money
and only one tooth,
the price I paid
to locate this exotic kingdom,
where mud-caked holy men
wander barefoot from place
to arduous place,
where the people need salt, (…continue reading here)

An excerpt from the poem, “Hood,” by Justin Bigos (poetry, ’08), available at Gold Wake Live:

 

“Hood”

     after a line by Carl Phillips

He’d have drowned, without me.
The eyes underwater green,
gray, shut. Without a word I

struck him, then, the second time
and the rest said what, probably,
he expected: bum, psycho, scum. […continue reading here]

An excerpt from the poem, “Doubling Back,” by J.C. Todd (poetry, ’90), available at The Ekphrastic Review:

 

 

 

Doubling Back

Where is the sitter, the mirror? Outside the frame.
Unseen. So whose portrait does he paint, his father’s
or his own? Perhaps he glimpses the darkened edge
of what’s to come or the backlight of lineage

in this doubling, a portrait of a man painting a portrait
of the man who taught him to paint. He has finished
his own figure as reflection has shown him, form
and light confirmed by his sidelong look. A last touch,

the fine-haired brush feathers the beard of the father,
who peers sideways too, perhaps eyeing the mirrored
face of the one he created recreating him. Or is it
the artist who emerges from the canvas he has painted

on canvas, adding years with each stroke?
Does he glance over his shoulder to ask, Who is this,
coming up on me, aged? Not my future but
a foreshadow my father teaches me to see. […continue reading here]

An excerpt from the short story, “You Could Only Know Us” by Boyce Upholt (fiction, ’16), available in The Sewanee Review:

 

 

“You Could Only Know Us”

Every evening, without fail, Fennimore Peterson took his seat in the tavern, ordered a whiskey, and read aloud the news of the world: a notice about a railway, the first one built in New Zealand; dispatches from Memphis, where troops were beginning to siege the city. Even in the months after the visitors left town, he never found word of what they thought we were, or what it meant. Constable Dolliver would stand in the corner, leaning on a beam, chewing his lower lip. His eyes stayed cold and steady. He was young, then, still impatient, and he often took his leave while old Fennimore had pages left to go.

Time churned on. Fennimore and his generation passed, and the constable retired. Our town grew: the empty blocks were filled, the roads tarred, the first snuffling cars appeared. And when they buried the constable—survived by his wife, and a shame, everyone thought, that the couple had no children—no one spoke of the wings. They just said that he was one in whom we ought to take some pride: our former sheriff and longtime clerk, a man whose steady work and quiet valor had been essential to our town’s survival in its early, tenuous days. […continue reading here]