Contents 9.2





Walking Through Fire: An Interview with Sanderia Faye

Conducted by Erica L. Williams

I met Sanderia Faye years ago at the Hurston/Wright Foundation’s Summer Writers Workshop in Washington, DC in a class led by novelist Agymah Kamau. It’s where she first revised portions of the novel that would later become Mourner’s Bench.

Faye and I became close friends during our week-long residency and before departing she gifted me a wood-scented candle to aid creativity. Throughout the years the candle has served as fuel to my creative fire, a symbol of our connection as writers of color and the artistic community of our origin. Before our interview, I asked her about the candle and she said, “There was something about your personality. I thought this energy would project in your life.”

This gesture is typical of Faye. A person who is affable enough to create lasting connections from the briefest encounters. Someone who in spite of her success remains grounded in the humble beginnings of her Arkansas roots.
(More …)


by Bernard James

Bo sat up front with daddy. Julius rode in the back with me. The dirty rag tied around his arm looked black in the moonlight; all that blood mixing in with the dirt. It was too dark to see his eyes, but my memory was fresh. More than the shock of having been shot, his nonsensical words and vacant stare resulted from a different kind of trauma. To be sure, the bullet hole in his arm was a problem, but the scowling woman in the blue kerchief—the one standing on the edge of the crowd, curses leaking from her blood-red lips—she was our primary concern.

Daddy hit a bump. The car groaned, and so did Julius. I had my arms around him, but he was too heavy. Too big. He was practically lying in my lap, his damaged arm hanging lifeless at his side. He stank of vomit, and sweat; blood, and strong perfume. I imagined it rubbing off on me, the curse of the one who’d worn it, somehow seeping into my bones. I shivered, and tried to hold my oldest brother steady, but it was a battle I was going to lose.
(More …)


by Geoff Kronik

I know the two girls are lying, so I invite them in. They’re leggy and slender with sharp little noses, teacup breasts, straight hair and pearlescent skin. If they had been a touch more professional, paid some attention to detail, I might have believed them and said sorry, I can’t help you. But now I’m curious.

“What did you say your name was?” I direct my question to the blonde, who so far has done the talking. Behind them a cardinal whistles in the big autumnal maple in my yard, red against gold against a clean blue wash of sky, a beautiful sight that even so does nothing for me.

“I told you already, it’s Vanessa.” She tilts her chin up at the ‘V’ and hisses the double-‘S’ through bared teeth. (More …)

Lorely and the Jay

by Kathlene Postma

The blue jay stole the baby straight out of the bird bath. Lorely wailed when she saw the little head bobbing in the jay’s grabby beak. The baby’s mouth was set into a silent ‘O’ of shock, its eyes fixed on Lorely. She raced after the bird calling, “Thief!” but the jay, muscular and confident, skimmed the tops of the sunflowers and disappeared within the feathery camouflage of the cedar tree.

After she yelled for her mother (no answer), her father (not home), and her older brother (didn’t care), Lorely began to climb the cedar, her bare feet finding prickly traction, her hands soon sticky with sap. She had just turned ten, and while she was too old for dolls, she was not too old to pretend she was a fairy or a monkey or a mother as long as she kept her fantasy a secret. When she was left alone in the garden (and everyone was glad to assume she was out there being happy and out of their hair), she put her hands in mud and made porridge, or she dug down in her mother’s best rose bed until she had a hole that smelled of death. There she made her mucky potions. Sometimes those potions involved making babies.
(More …)


by Lisa Knopp

On the edge of a flowerbed in the University of Nebraska’s Yeutter Garden, a man in a chartreuse vest studies a map, flips through a three-ring binder containing photographs of plants, glances at the map again. Then he pulls from a rack what looks like a weirdly proportioned golf club or dental mirror. He drives the sharp end of the club into the ground on the outer edge of a clump of cranberry-pink blooms past their prime. When he steps back, I see that the plaque atop the stake bears names: “Heartleaf-Bergenia/Bergenia cordifolia.” I consider these words. Because the edges of the large, leathery leaves are rolled in, I can’t see if they’re heart-shaped. Bergenia. Probably the name of a botanist who studied this plant. Is that with a hard or soft g? If it’s the former, I’ll see reddish stems as assertively lifting the wilted blossoms above the leaves. But if it’s the latter, I’ll see the stems as gently supporting the blossoms. If I hadn’t known the name of this plant, I might have just glanced at the flowers and moved on, without noticing the leaves or stalks, without searching for the right name for the color of the petals, without considering the connections between the name and the named.
(More …)

Comings and Goings

by Donna Miscolta

I. The Church

Uncle Dondey has died. For real this time.

We had grieved in advance of his passing thanks to my highly excitable aunt, or rather, one of my highly excitable aunts (a certain level of hysteria thrums in the veins of this generation of women in our family). My aunts, Magdalena and Rosalva, and my mother Dolores are three of Dondey’s five sisters. They live within shrieking distance of each other—two and a half miles at the most—though they do use the telephone to share and sigh over life’s latest woes and to leap frantically to conclusions.

When Dondey, suffering from emphysema and a medley of collateral ailments, asked for a priest, Magdalena assumed the worst and soon the family, spread across dozens of area codes and multiple time zones, wept at the dreaded news. It turned out though that it was confession he wanted—only that. Not last rites. Not yet.
(More …)

Jamie & Rachel in Liza Lou’s Kitchen

by Janet Bowdan

It feels like coming home
only enhanced—like everything really is
easy, like the advertising illustrations:
housewife in heels, shawl-collared dress with
nipped-in waist and A-line skirt
dazzling beholders as she sweeps dust-
bunnies into a pan. The pan is beaded,
the broom bristles and handle and all
are beaded, even the dust-bunnies are beaded
(and shaped like starfish)
(More …)

Beach Boy Flies a Kite

by Janet Bowdan

It’s windier than the day before but
they have the kite, a multi-color box
and he’s never flown a kite before,
only seen Charlie Brown frantically
running, even through a house, to
keep that diamond shape up and not
swooping down on him or tangling
everyone up in its line. And wonder
of wonders, this kite, labeled “easy
to fly,” goes up, stays up, pulls away
so they let out the string. It stays up!
The ocean crashes into the shore,
the kite crashes down unharmed; they
take it up again. Later that day, time
to go home: boy curls up under a blanket(More …)

360° Still Frame:

by Natalie De Paz

The Room with the Birds of Paradise Bedspread,
Lunchtime, 234 East 7th Street


An old Zenith TV sits bloated in the wall unit. Not baseball season, only
local channels can be caught with the glow-in-the-dark remote control buttons.
In the next cube over, from Left to Right: Erika, 18, prima ballerina, not yet
third-grade teacher; Andy, 8, kneeling with a soccer ball instead of an army rifle.
Next cubby down, Natalie, 3, sits on a white stepladder in her Minnie Mouse overalls, laughing like it is the only thing she knows how to do.

(More …)

Dead Mouse

by Jordan Durham

In wintertime, they came. Swarms, at least
five at a time, out of the fields for the closeness
of our heat. We never saw them until after,
which often took weeks through measured
ways of living, surviving each day’s cold.
It wasn’t until the day we heard one for hours—
squeaking, scurrying, and then glue-stuck, so as not
to be—that we realized we didn’t understand
what was considered a death meant for humanity(More …)


by Alexis Rhone Fancher

1. Like my love life, L.A. is in a perpetual state of drought.

It’s a crime to water the lawn.

2. Rumors of coyotes overrun the neighborhood.

When they lose their fear of humans, they mingle,
associate people with food, water.

3. My cat’s photo is on a milk carton.

The scattered remains of lost lovers and household pets
litter my dreams.

4. Coyotes have rights, too, my neighbor says,
when I complain about the carnage. His Chihuahua’s leash
hangs on the door.

5. When the famous poet arrived from West Virginia, stood at our sink,
soaped his hands over and over, water gushing out of the tap,
I kept quiet as long as I could.

This is L.A., for fuck’s sake, I said at last.

6. The white, alpha dog next door is silent for once,
his cohort, the yappy Dachshund, strangely missing.

7. The last time I bathed without guilt, in a full tub of water,
the century had just turned.

For J.G.

I Audition For The Belly Dancer Job While My Pure-bred Siamese Lily Gets Laid

by Alexis Rhone Fancher

I gyrate like Little Egypt in my haram pants and diaphanous veil.
The lessons with Fatima have paid off.

But it’s the minefield between the restaurant’s bar and the stage.
Barefoot, my limp is even more pronounced.

Last night I watched two cats humping.
One of them was mine. Like me, she’s been in an accident.

Like me, her bum leg makes her an easy target.
(More …)


by Henry Goldkamp

[i]denim lemonade \ˈde-nəm le-mə-ˈnād\ noun [origin unknown](1956)
1 : an extravagant, often loud spiel of determined work ethic, when in actuality little is being worked upon : PALAVER
2 : any beverage sipped while motivating denim lemonade, usually leading to insobriety (1) <Just one more denim lemonade wouldn’t hurt, would it?>
3 : any light emanating from a screen, often confused for godliness or splendor; SEE ALSO: EFFULGENCE, HALATION
4 : any wet putrescence such as froth, scum, mold, or similar rot due to neglect or lack of use
5: a shrine of post-modernity; also : a couch
6: a liquid scourge of insobriety, especially: inaction leading up to denim lemonade
6: something suggestive of a gaping maw <denim lemonade goes down my denim lemonade real easy>
usage see EDENTATE
(More …)

Denim Lemonade As SPF 4

by Henry Goldkamp

Whatever happened to that used tanning bed? Its dimensions—a perfect fit for the bed of your work truck—feel divinely ordained. “free stuff” and only posted 41 minutes ago: Must pick up, will help with loading the plastic plug-in coffin of vanity, never minding that you live in a two-bedroom with a roommate ignorant of this whim, your tan plans of privacy buzzing purple-blue, upgrading from the roof of pigeon shits and fear of being caught naked, alone, oily, a dead fishskin on steaming tar, the type no one you know eats, picks it away and asks for an extra plate to set on.
(More …)


by Allan Peterson

We thought we had all day to listen while Richard talked

about his anterior cruciate ligament as he did his transmission
knowingly as if he had some intimate experience other than that
one little crack after the jump shot He’d visualized a drumstick
celery snapped deep in a blanket  wishbone and spoke
as if he had written to it: Dear Ligament come home
We thought we could fix a register to a monkey’s head to study
our shopping habits by what the sad thing selected through the bars
banging the electrodes brushing off wires We looked right at it
and missed the real result our monstrosity We wrote software
to eliminate the doomed illusion of scientific objectivity

We thought when we knew enough about sodium by studying its parts

we would find weightless angels   and among the emergent qualities
soul   that we could prove it with plutonium

Once Nothing

by Allan Peterson

Once nothing plain being then descriptions
in different languages
then the illusion of illusion that nothing could
describe well enough
Some said they couldn’t say for sure
so translation began
but some thought those were vast inaccuracies
so suspicion began
that experience could not be shared with confidence
so then homesick
and the feeling of isolation being utterly lost
because understanding
seemed uncapturable with words a sickness
so gods were blamed
and made complicit in misunderstanding
and we improved


by Allan Peterson

Our moon falls up every night or seems to smaller the farther

Or maybe it’s only doing round-the-world as the earth’s yo-yo
The secular story is gravity and stasis and making the same face
at all times but everything’s true sooner or later Pick one yourself
A hole in a dark donut so big we can’t see edges so thirsty
It’s taking a big dark drink See its mouth wide open filling in

Something going dark at night is not especially surprising

but tonight the sky dog will eat the moon or a mythical demon will try
to hide up there but pick by mistake the one place with the light on
Then barking and banging pots and pans and gunshots erupt
from some little country using up military aid to rout those monsters

Contributors 9.2

Janet Bowdan

Featured Work

Janet Bowdan’s poems have appeared in APR, Crazyhorse, Verse, Denver Quarterly, The Pinch, Free State Review, Peacock Journal, Best American Poetry 2000, Poetry Daily and many other journals. The editor of Common Ground Review, she teaches at Western New England University and lives in Northampton, Massachusetts, with her husband, son, and sometimes a lovely stepdaughter or two. She was also in the chorus of Valley Light Opera’s H.M.S Pinafore where the real Jamie and Rachel fell in love. The art of Liza Lou can be seen in Liza Lou (Smart Art Press); her kitchen was on display in the Smith College Art Museum.

Jordan Durham

Featured Work

Jordan Durham holds an MFA in poetry from the University of Idaho where she was the 2015-16 Centrum Fellow. A finalist for the Grist Pro Forma Contest and Arcadia Dead Bison Editors’ Prize in Poetry, her poems have appeared or are forthcoming in Blackbird, Quarterly West, Rattle, Harpur Palate, and Indiana Review, among others. She lives in Columbia, Missouri.

Natalie De Paz

Featured Work

Natalie De Paz is a poet and aspiring screenwriter of Cuban descent who was born and raised in South Florida. She is the winner of the 2017 Puerto del Sol Poetry Contest and her work has been published in The Southampton Review, Tule Review, and City Works Journal. She is currently an MFA candidate and Turner Fellow in the Creative Writing Program at Stony Brook Southampton.

Alexis Rhone Fancher

Featured Work

Alexis Rhone Fancher is the author of How I Lost My Virginity To Michael Cohen and other heart stab poems (2014), State of Grace: The Joshua Elegies (2015), and Enter Here (2017). She’s published in Best American Poetry 2016, Rattle, Plume, Nashville Review, HobartDiode, Tinderbox Poetry Journal, and elsewhere. Her photographs are published worldwide. A multiple Pushcart Prize and Best of the Net nominee, Alexis is poetry editor of Cultural Weekly. She lives in Los Angeles.

Sanderia Faye

Featured Work

Sanderia Faye serves on the faculty at Southern Methodist University. Her novel, Mourner’s Bench, is the winner of the Hurston/Wright Legacy Award in debut fiction, The Philosophical Society of Texas Award of Merit for fiction, and The 2017 Arkansas Library Association, Arkansiana Award. She is co-founder and a fellow at Kimbilio Center for Fiction, and was awarded the 2017 Sewanee Writers’ Conference Tennessee Williams Scholarship.

She holds an MFA from Arizona State University, a MA from the University of Texas at Dallas, a BS in Accounting from the University of Arkansas. She is currently a PhD candidate in English at the University of North Texas where she was nominated for the University of North Texas Wingspan Presidential Award For Excellence.

Henry Goldkamp

Featured Work

Henry Goldkamp has lived in major cities along the Mississippi River his entire life—a fancy way of saying Saint Louis and New Orleans. Recent work appears in Wild Violet, Third Wednesday, BULL, Blood Orange Review, b(OINK), Sierra Nevada Review, Pretty Owl, Permafrost, and others. His work has been twice nominated for 2017’s Best of the Net. His public art projects have been covered by Time and NPR.

Bernard James

Featured Work

Writing under the pseudonym Bernard James, James Bernard Short is an emerging novelist, essayist, and poet. His singular ambition as a writer is to produce smart, expressive, and culturally authentic content that captures the wide spectrum of aspirations and challenges encountered by persons of color. James’ work has appeared or is forthcoming in Callalo, The New Guard, The McNeese Review, SmokeLong Quarterly, Columbia: A Journal of Literature and Art, Killens Review of Arts & Letters, and sx salon, a Small Axe Literary Platform. He is a 2017/2016 Kimbilio Fellow, and a 2015 Givens Writing Fellow. James holds degrees from Northwestern and The University of St. Thomas. He currently resides in the Twin Cities.

Lisa Knopp

Featured Work

Lisa Knopp is the author of six books of creative nonfiction. Her most recent, Bread: A Memoir of Hunger (University of Missouri Press, 2016), is about eating disorders and disordered eating among older women. Both Bread and What the River Carries: Encounters with the Mississippi, Missouri, and Platte (University of Missouri Press, 2012) won Nebraska Book Awards. Knopp’s essays have appeared in numerous literary journals including Georgia Review, Missouri Review, Michigan Review, Gettysburg Review, Crab Orchard Review, Connecticut Review, Iowa Review, Shenandoah, Creative Nonfiction, Prairie Schooner, and Seneca Review. Her current project is “Like Salt or Love: Essays on Leaving Home,” which will include “Name-staker.”

Geoff Kronik

Featured Work

Geoff Kronik’s fiction and essays have appeared in Salamander, SmokeLong Quarterly, the Boston Globe, The Common Online, Litro and elsewhere. He has a degree from the MFA Program for Writers at Warren Wilson College and lives in Brookline, MA.

Alexa Lemoine

Featured Work

Alexa Lemoine is a Dominican-American poet and student, studying at the University of Central Florida. When not writing, she is traveling, capturing photos, and learning how to navigate the world through her art.

Allan Peterson

Featured Work

Allan Peterson’s most recent books are: Other Than They Seem (2016 ), winner of the Snowbound Chapbook Prize from Tupelo Press; Precarious (42 Miles Press, 2014), a finalist for The Lascaux Prize; Fragile Acts, (McSweeney’s Poetry Series, 2012), a finalist for both the National Book Critics Circle and Oregon Book Awards. A visual artist as well as a poet, he divides his time between Florida and Oregon.

Donna Miscolta

Featured Work

Donna Miscolta’s story collection Hola and Goodbye was selected by Randall Kenan for the Doris Bakwin Award for Writing by a Woman and publication by Carolina Wren Press in 2016. Hola and Goodbye won an Independent Publisher gold medal for Best Regional Fiction and an International Latino Book Award silver medal for Best Latino Focused Fiction. Miscolta is also the author of the novel When the de la Cruz Family Danced (Signal 8 Press, 2011). Her stories and essays have appeared in a variety of publications, including the 2016 anthology Memories Flow in Our Veins: Forty Years of Women’s Writing from CALYX. Excerpts from her novel-in-progress The Education of Angie Rubio appear in The Adirondack Review and Crate (now the Santa Ana River Review).

Kathlene Postma

Featured Work

Kathlene Postma’s poetry, fiction, nonfiction, and visual art have appeared in Hawai’i Review, Willow Springs, ZYZZYVA, The Los Angeles Review, Passages North, Natural Bridge, Rattle, EVENT, Green Mountains Review, Red Rock Review, Cha: An Asian Literary Journal and other magazines. Her work has been cited in Best American Travel Writing and performed for radio at the Furnace Series in Seattle. She’s lived and taught in Turkey and China. She returns to Asia often to teach and write. A professor of creative writing at Pacific University in Oregon, she co-edits Silk Road Review, a literary magazine with a global perspective. She is currently at work on a collection of adult fairy tales on healing through gardens and art.

Erica L. Williams

Featured Work

Erica L. Williams received an MFA in Creative Writing from the Vermont College of Fine Arts. Her work has appeared or is forthcoming from Kansas City Voices, Necessary Fiction, Vol. 1 Brooklyn, and The East Bay Review. She tweets @EricaLWilliams3 and Instagram @ericalwilliams3. She lives in Baton Rouge, Louisiana.

Contents 9.1





Contributors 9.1

by Jeffery Pearson

Emily Alexander

Featured Work

Emily Alexander is a writer, a clumsy waitress, and an older sister. Her work has been featured in Vending Machine Press, NAILED Magazine, and Radar Poetry, and she was recently awarded the Academy of American Poets Prize at the University of Idaho.

Chelsea Catherine

Featured Work

Chelsea Catherine has an MFA in creative writing from the University of Tampa. She is a Sterling Watson fellow, a PEN Short Story Prize nominee, and winner of the 2016 Raymond Carver Short Story award. She has been writing since she was eight years old.

Laura Cesarco Eglin

Featured Work

Laura Cesarco Eglin is the author of three collections of poetry, Los brazos del saguaro (Yaugurú, 2015), Sastrería (Yaugurú, 2011), and Llamar al agua por su nombre (Mouthfeel Press, 2010). A bilingual edition of her first book translated by Scott Spanbauer was published as Calling Water by Its Name (Mouthfeel Press, 2016). A selection of poems from Sastrería was translated collaboratively into English with Teresa Williams, and subsequently published as the chapbook Tailor Shop: Threads (Finishing Line Press, 2013). Cesarco Eglin also published the chapbook Occasions to Call Miracles Appropriate (Lunamopolis, The Lune series, 2015). Her poems and translations have appeared or are forthcoming in a variety of journals, including Modern Poetry in Translation, MiPOesias, Eleven Eleven, Puerto del Sol, Copper Nickel, Tupelo Quarterly, Columbia Poetry Review, Timber, Pretty Owl Poetry, Drunken Boat, Pilgrimage, Arsenic LobsterPeriódico de Poesía, Metrópolis, and more. Her poems are also featured in the Uruguayan women’s section of Palabras Errantes, Plusamérica: Latin American Literature in Translation. Cesarco Eglin’s poetry appears in América invertida: An Anthology of Emerging Uruguayan Poets (University of New Mexico Press, 2016). Cesarco Eglin’s work has been twice nominated for a Pushcart Prize. She is the co-founder and publisher of Veliz Books.

Jon Chopan

Featured Work

Jon Chopan teaches creative writing at Eckerd College. He received his MFA from The Ohio State University. His first book, Pulled from the River, was published by Black Lawrence Press (2012). His work has been published or is forthcoming in Glimmer Train, The Southampton Review, Epiphany, Hotel Amerika, Hobart, and elsewhere.

Kwame Dawes

Featured Work

Kwame Dawes is the author of twenty books of poetry and numerous other books of fiction, criticism, and essays.  He has edited over a dozen anthologies.  His most recent collection, City of Bones: A Testament (Northwestern University Press, 2017) appears along with Speak from Here to There (Peepal Tree Press, 2016), a co-written collection of verse with Australian poet John Kinsella, and A Bloom of Stones (Peepal Tree Press, 2016), a tri-lingual anthology of Haitian Poetry written after the earthquake, which he edited. A Spanish-language collection of his poems, titled Vuelo (Valaparaiso Ediciones), appeared in Mexico in 2016.  He is Glenna Luschei Editor of Prairie Schooner and teaches at the University of Nebraska and the Pacific MFA Program. He is Director of the African Poetry Book Fund and Artistic Director of the Calabash International Literary Festival.

Elizabeth Forsythe

Featured Work

Elizabeth Forsythe is a poet living and writing in Chicago, where she recently earned her MFA in poetry from Columbia College. While at Columbia, she served as an editor for Columbia Poetry Review. At twenty-six years old, she is in the middle of a quarter-life crisis, which she combats by traveling frequently, using money she doesn’t have. The recipient of the 2016 Jane Lumley Prize, her work can be found at After the Pause, Arsenic Lobster, By&By Poetry, Hermeneutic Chaos, Tinderbox Poetry, Tupelo Quarterly, and elsewhere.

Vincent Hao

Featured Work

Vincent Hao is an aspiring writer who attends the Liberal Arts and Science Academy in Austin, Texas. He enjoys reading poetry and writes in a variety of different styles in his spare time. His work is forthcoming in The Adroit Journal and ANOMALY Magazine . His favorite writers are Thomas Pynchon, Ocean Vuong, and Carolyn Forché, and his favorite movie is Eternal Sunshine of the Spotless Mind, due to its beauty and complexity. The most amazing image he as seen is the vantage down his sidewalk at night, when the sky is dark and bathed in insect songs, and the street lamps carry small patches of the world beneath their ambient frames.

Kate Lebo

Featured Work

Kate Lebo is the author of Pie School (Sasquatch Books) and A Commonplace Book of Pie (Chin Music Press). Her essays and poems have appeared in Best American Essays, Best New Poets, New England Review, Willow Springs, and Gastronomica, among other places. In 2017, Sasquatch Books will release Pie & Whiskey, an anthology co-edited with Sam Ligon and based on their popular Pie & Whiskey reading series. She lives in Spokane, Washington, which means she’s currently represented in the House by Cathy McMorris Rodgers, often described as the most powerful Republican woman in Congress.

Lois Melina

Featured Work

Lois Ruskai Melina’s work has been published in two anthologies of Idaho writers: Borne on Air (Eastern Washington Press) and Forged in Fire (University of Oklahoma Press), and has appeared or is forthcoming in Colorado Review, Carolina Quarterly, 2016 Best of the Net Anthology, Crack the Spine, and Lunch Ticket, among others. Her essays have been long-listed or finalists for the New Letters Prize for Nonfiction, the Torch Prize for Creative Nonfiction, and the Dead Bison Editors’ Prize in Nonfiction. She is the author of three books on adoption, including Raising Adopted Children (HarperCollins). She lived in Moscow, Idaho for almost 30 years before moving to her current home in Portland, Oregon.

W. Scott Olsen

Featured Work

W. Scott Olsen lives in Moorhead, Minnesota, where he teaches writing at Concordia College and edits the literary magazine Ascent. The author of eleven nonfiction travel/adventure books and co-editor of three anthologies, his most recent book is A Moment with Strangers: Photographs and Essays at Home and Abroad (North Dakota State University Press, 2016). His work appears widely in literary magazines as well as commercial magazines focused on either flying or photography.

Mary Quade

Featured Work

Mary Quade is the author of the poetry collections Guide to Native Beasts (Cleveland State University Poetry Center) and Local Extinctions (Gold Wake Press). Her essays have appeared or are forthcoming in Broad Street, Creative Nonfiction, Fourth Genre, The Florida Review, Fifth Wednesday Journal, West Branch, Confrontation, Grist, and Flyway: Journal of Writing and Environment and are included in two anthologies released in 2016: From Curlers to Chainsaws: Women and Their Machines (Michigan State University Press) and Writing Essays: Twenty Essays and Interviews with Authors (SUNY). Her essay “Hatch” was listed as a Notable Essay in Best American Essays 2013.

Artress Bethany White

Featured Work

Artress Bethany White is the author of the collection of poems Fast Fat Girls in Pink Hot Pants (2012). She has received the Mary Hambidge Distinguished Fellowship from the Hambidge Center for Creative Arts for her nonfiction and The Mona Van Duyn Scholarship in poetry from the Sewanee Writers’ Conference.  New nonfiction is forthcoming in The Hopkins Review and the anthology Seeking Home: Marginalization and Representation in Appalachian Letters and Song (University of Tennessee Press, 2017). Recent poetry has appeared in Poet Lore, The New Guard, Harvard Review, and Ecotone. She is associate professor of English at Carson-Newman University and resides in Knoxville, TN.

Rita Wong

Featured Work

Rita Wong currently lives on unceded Coast Salish territory also known as Vancouver, British Columbia, and teaches at the Emily Carr University of Art and Design; she grew up on Treaty 7 territory in Calgary, Alberta. She is the author of three books of poetry, monkeypuzzle (Press Gang, 1998), forage (Nightwood Editions, 2007) and most recently, undercurrent; co-author of two books, perpetual (with Cindy Mochizuki, Nightwood Editions, 2015) and sybil unrest (with Larissa Lai, Linebooks, 2008); and editor, with Dorothy Christian, of Downstream: Reimagining Water (Wilfrid Laurier University Press, 2016). She’s won several awards, including the Dorothy Livesay Prize for forage.