The Breast I Kept
By Poetry Issue 119
You Write What You Can’t Forget: A Conversation with Richard Lischer
By Interview Issue 119
I believe memoir is the most intimate of genres and, for that reason, an excellent literary response to loneliness.
Read MoreRevision
By Essay Issue 119
Finally, you add a layer of cookies, and—voila!—a chessboard. Then you let the whole thing sit in the refrigerator until the cookies get soft, and, oh, sweet Jesus, it is so gloriously rich, so simple but so good, like the very best things about Appalachia, sweet iced tea and ghost fireflies and steep, winding roads leading nowhere in particular and everywhere all at once
Read MoreRaw Colors
By Poetry Issue 119
The mountains encircled him
like elders less stern
than his father the pastor
who warned him that whatever
gave him pleasure was a sin,
even sledding…and, later, painting.
Read MoreChickens of Faith
By Essay Issue 119
A hen, however, is not a word. Let us be clear. She is a living creature, a being to be experienced. She is her own center of consciousness. She cannot be explained, will never be solved.
Read MoreAt the Shrine
By Poetry Issue 119
I knelt naked in the grotto west of the meditation pool—
the closest in years I’d gotten to belief. Around her feet:
cockle shells, one gold earring, a crochet-covered rock,
Read MoreImmersion
By Essay Issue 119
Though my answer wobbled on the edge of insincerity, I knew it was the right one. I have always known how to give the right answer. The cost of giving the wrong one was too great.
I knew it was the right answer because Brother Mark savored it. His face relaxed into admiration, as if I were a young dog who had just accomplished a complex trick.
One Night in Galilee
By Poetry Issue 119
Fear not, a voice said.
And out of the voice emerged a figure.
He looked like a man
but we knew he wasn’t.
Curator’s Corner
By Visual Art Issue 119
As a curator, I have a nearly mystical sense of the power of objects to open a portal between history and today, lives long ended and lives currently unfolding.
Read MoreIn the Studio
By Visual Art Issue 119
It’s interesting to me how quick we are to trust a museum’s account of history simply because it’s presented in a way that feels organized and professional. We gloss over whatever seems unappealing or doesn’t fit into the story we are trying to tell. In many ways, I think fiction can tell a more honest story than what we consider to be the truth.
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