Plunder
byAll writers at some point in their careers have been told to write what they know best, and often this includes, in some shape…
Archives
Of Hebrews and Haints: A Review of Sheree Renée Thomas’ Nine Bar Blues
byOne of the true glories of a well-executed short story collection is for the whole to greatly exceed the sum of its parts: Nine…
Haunting Work: A Review of Diana Khoi Nguyen’s Ghost Of
byI finished reading Ghost Of when my grandmother first entered into hospice care. I was searching for a particular grammar of grief—one that knows…
The Softness of Ecology is Conversing with the Chaos of the World
byThe first poem in Kathmandu, “When Rajiv was blown up,” opens: Before her belly would caressand press the bomb in her sari,she gave the…
These Are Our Headwaters: A Review of Michael Garrigan’s Robbing the Pillars
byWe often talk about books being shaped by the times in which they were written, but books are also shaped by the times in…
Savage Pageant
byIn many ways, a poetry collection is an archive, one that seeks to preserve memories and experiences. Jessica Q. Stark’s debut collection Savage Pageant…
The Me of Happiness: A Review of The High Shelf by Nadia Colburn
byIn her debut collection The High Shelf, Nadia Colburn has gifted us with intimate and elegantly crafted poems. Colburn draws from her experiences of…
Back to the Water: A Review of Bill Carty’s Huge Cloudy
byStart with the water. At the end of A River Runs Through It, Norman Maclean writes: “Eventually, all things merge into one, and a…
Endless Senseless Endeavor: a Review of Brenda Shaughnessy’s The Octopus Museum
byBrenda Shaughnessy, in her fifth published book, The Octopus Museum, has built a literary edifice concerned with the memorialization of a unique species that…
For Something Beautiful: An Interview with Fred Bahnson
byFred Bahnson is the author of Soil and Sacrament (Simon & Schuster) and co-author with Norman Wirzba of Making Peace With the Land (IVP)….