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Issue 130 | Fall 2026

Molly McCully Brown’s Glen Workshop keynote on the gift of doubt
William Blake, AI, and True Images
Jamie Quatro in Conversation: A Theology of Fiction
Mary as Mother-Survivor
Notes from Family Detention in Dilley, Texas
Searching for Redemption in Solitary Confinement
A Personal History of Colorado
The Art of Glacial Sound
Drawing the Forest Primeval
Poems by Eric Pankey, Rosebud Ben-Oni, and Allison Funk

On the cover: Agata Orlovska. Oklad of Our Lady of the Gates of Dawn, 2024. Laser-cut steel. 70 x 56 x 1½ inches. Photo: Drifts Galerija.

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CONTENTS

VISUAL ART

In the Studio

Perri Lynch Howard

EDITORIAL

Molly McCully Brown, I Wish You Doubt

FICTION

Sarah Malik Sayed, Griffins

Matthew Beringer, The Golfer

VISUAL ART

Perri Lynch Howard, In the Studio

Eglė Elena Murauskaitė, Mother-Survivor at the Gates of Dawn: An Icon in Contemporary Art

Heather Hietala, Embracing Impermanence

Tatu Tuominen, In the Studio

ESSAY

Sasha Steensen, Trespasses and Habitations: Living on Hallowed Ground

Habiba Soliman, Notes from Detention

Thomas Bartlett Whitaker, Life After Death: Notes from a Texas Prison's God Pod

CULTURE

Yoni Gelernter, William Blake, AI, and the Inner Image

Eric Janken, The Bad Actor

VISUAL ART

Embracing Impermanence

Heather Hietala

POETRY

Eric Pankey, The Sacred Is a Place Apart

Sharon Ackerman, Sunday Drive; Fall Equinox

Neil Shepard, Such a Thin Membrane

Jeff Reimer, Creation Narrative

Betsy Sholl, To One of the Many Who Saved Me

Richard Tillinghast, The Way Across

Garret Keizer, The Juggler

Toni Holland, Tyrian Purple; Archil

Jane Zwart, Revisionary

David Ehmcke, The Rake's Progress

Matthew Lippman, They Are All Kings

Stephanie Ellis Schlaifer, Ode on a Predynastic Jar

Matthew Moore, God, CERN

Will Brewbaker, Sonnet Ending with a Sentence from Augustine

Ae Hee Lee, Mildang

Rosebud Ben-Oni, ⁵⁸Ce :: Heroes

Allison Funk, At the Holy Well

INTERVIEW

Jamie Quatro, The Body Believes

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Issue 130 Discussion Questions

Interview: Jamie Quatro, “The Body Believes”

Quatro describes her need for sensory experience in worship. In what sensory experiences do you find connection to the divine, inside or outside church?
Growing up in a family “looking for signs of the end,” Quatro says she was “primed for the visionary.” How has your upbringing influenced the way you think about sacred or ecstatic experience?
Quatro talks about the way her writing and her running are intertwined. Do you have physical practices or habits that feed your creative life?

Poem: Ae Hee Lee, “Mildang”

This poem’s title comes from a Korean word that means “push and pull” and describes a dynamic in romantic relationships. How does this influence your reading of the poem? Where does the narrator take “push and pull” beyond human relationships?
What images and words does the narrator use that indicate a connection to faith? What do you sense the narrator is communicating about faith?

Essay: Habiba Soliman, “Notes from Detention”

Soliman focuses more the daily details of life in detention than the social forces or personal story that put her there. Why might she have chosen this?What is the effect of that choice on you as a reader?
The author was eighteen when she wrote this essay. At what moments does she think or speak like a teen? And what moments does she think or speaklike someone older? Does knowing her age change how you read?

Culture: Yoni Gelerntner, “William Blake, AI, and the Inner Image”

Gelernter notes William Blake’s belief that an image “could not show in any final way how things were or how things are.” Do you agree?
Gelernter writes that the proliferation of AI-generated images has “cost us the ability to be struck by things we see, moved to real ethical action, because they can only reveal things we already know.” Where do you see this happening?
How do we practice the kind of looking that reminds us, as Gelernter puts it, “that there are inexhaustible infinities everywhere?”