We discovered the joy of Roy White’s poetry at our sister magazine, The Lascaux Review, where his piece “Improv” snatched the air from our lungs.
by Kent OswaldSince its 2013 debut, Thug Notes has attracted millions of clicks by engaging audiences with sophisticated analysis in a unique format.
by Tina CabreraAndy Stewart has always put writing first, which I admire—the fortitude and endurance it takes to do so with all the challenges life brings.
And now for something different. The author of yesterday’s fiction piece, “German Love Song,” graciously offered to interview himself.
Cynthia Manick, June’s Poet in Residence, graciously answers our Take Five, a feature where we ask writers of various disciplines the same set of questions to ascertain where our commonalities converge and divide.
I fell in love with poetry when I was a teenager. I was assigned “The Love Song of J. Alfred Prufrock” in a class, and I couldn’t get enough of that poem; I didn’t understand a lick of it, of course, but the sounds and the rhythms cracked something open in me.
We met George Drew through January’s Poet in Residence, Harry Newman. George joined us with the essay, “I Beg You Ezra,” in April and will celebrate the release of his latest book of poetry, Pastoral Habits (Texas Review Press), May 15th.
Be careful what you say / For your tongue is a wand that casts powerful spells / Spells that build, spells that destroy
Leesa’s stories invite the reader to the table, pour them a couple fingers of something good, and leave them reeling.
Arresting, spare, and timely, Newman’s poems confront the urban political rather than the pastoral we see so often as editors.
Today our December Poet in Residence, Logen Cure, participates in our Take Five feature, where we ask writers of various disciplines the same set of questions to ascertain where our commonalities converge and divide.
Today we give you Brendan Constantine, our October Poet in Residence, taking part in our traditional Take Five interview with equal parts delight and torment.
"Also, there is a quiet and resilient emptiness, a space that seems to act like a tuning fork for whatever the poem might be."