Jessica unzipped the frog’s belly with a pair of sharp scissors. As its skin slipped away, revealing the jewels buried inside—heart, lungs, kidney, stomach—she tried to ignore the uneasy feeling in her own stomach, her heart’s reluctant sprint.
When her biology teacher announced they would be dissecting frogs at the end of the year, Jessica protested the practice along with a few other girls. Her teacher, however, was not moved.
The old man woke up when the five fifteen train thundered past his one-room house. The walls trembled and dust dislodged from the wooden roof and rained down on him. His bones rattled for a while after the train had given a final desolate hoot and moved on in its journey.
Last night I found you huddled in the corner of our bedroom, wide awake and shaking. This was similar but not identical to that time one year ago when I broke down the bathroom door with a hammer to find you curled in a C-shape on the tile, the way you perhaps had slept in your mother’s womb. Both times, you said you were sorry. You had lain surrounded by the glass of a shattered fifth of Jack Daniel’s Old No. 7, and 27 acetaminophen 500mg/diphenhydramine-hydrochloride 25mg pills, which I scooped into the sink to count and subtract from the number on the packaging (100) to estimate the intake (73, or 36500 mg, with an error margin of 5-10 pills that I might have missed laying under your still, silenced body). It’s not the diphenhydramine-hydrochloride that will kill you. It’s the acetaminophen, and it’s slow. I didn’t know that part until later.
I live in the middle of a really small pool in the middle of a really big room below a really circular hole in the really high ceiling. When the sun shines through the hole, the animals come and watch. When the moon shines, they go away. I don’t know where they come from, but, every morning when I wake up, they’re there. I’m not sure if they’re the same ones every day. They’re animals; they all look the same to me.
This November blew
down to the just-reaped
fields a hectic
of leaves.
More golden leaves
than fevered leaves
but the fevered
claimed the land
in the way
that we call fair.
Dear June,
You know what makes me mad? People who say “diminishment.” What’s wrong with good old “diminution?” And now I am seeing “abolishment,” too, for God’s sake. What is the matter with people?
I know this seems like a small thing. Okay, it is a small thing. But language can make a big difference: look at that dairy farm that would have saved $10 million dollars if they had used the Oxford comma!
On my flight back to Washington at 4 am
in air marbled by night and snow
I leaned against the oval glass and saw
tiny bodies of light pushing slowly
down the mountain roads, each sphere
its own life full of sideways winds.
Twelve-year-old Mischa Love—or Ish—wants to be among the first colonists on Mars more than anything, and has applied to a program in Iceland offering this chance (and been rejected) nearly 50 times. She knows pretty much everything there is to know about Mars. When it comes to science, her convictions are strong. “Global warming is a real thing,” she tells us with unwavering certainty. “You can pretend it’s not, but that’s just dumb. It’s science.”
Cars, packed together like cattle in a feed lot, belching noxious gases into a sky already brown with grief, circle the globe like a noose. People desperate to reach anywhere-but-here find themselves turned away again and again. Wile E Coyote continues to run down the highway, smashing into a tunnel that does not exist. Children no longer laugh at his antics.
A hundred years after Leonora Carrington’s birth, her painting and writing seems, to the modern viewer, as defamiliarized and spontaneous as it did when it first appeared under the Surrealist banner.
Two weeks before Election Day, I took a new job at a private high school in Minneapolis. Faculty passing by in the hall poked their heads through my doorway and asked, “So, are you the New Asma?”
“Kind of,” I replied.
But, I am not the New Asma.
Melancholy can be a difficult tone for authors to elicit. Paired with too much unwarranted levity, or depicted as flat sadness without the requisite quiet contemplation, it can easily shift to the maudlin. Tom Gauld’s graphic novel, Mooncop, manages to delicately balance the emptiness of outer space with the intimacy of solitude, a tone which stayed with me days after putting the book down. Gauld packs an impressive amount of feeling into a tiny package—Mooncop is less than a hundred pages long and takes a maximum of thirty minutes to finish. I never felt overwhelmed by any single emotion, however, as a thin layer of meditative calm acts as a barrier between the potentially crushing despair of loneliness.
Alejandra Mortiz is a bruja. She lives her life in the presence of death. She comes from a long line of brujas, each with their own unique manifestation of power.
But Alex, as her family and friends know her, does not revere the magical legacy of her family; she fears it. After seeing her Aunt Rosaria rise from the dead as a child, Alex is burdened by the sense that magic is not a gift, as her sisters Rose and Lula believe, but a curse. Her fear grows more acute as her Death Day approaches. This is a bruja’s coming of age celebration when the manifestation of her power is blessed by her ancestors.
Dear June, My father died several years ago. Mom and I have always been close, partly because I am the only daughter—I have three brothers. Since Dad died, Mom and I have become even closer, talking on the phone almost…
Julia Alekseyeva’s Soviet Daughter: A Graphic Revolution could hardly have come at a better time. A Soviet-born woman who emigrated with her multigenerational Jewish family to the U.S. in 1992, the author entwines her great-grandmother Lola’s life story with her own, translating Lola’s own written memoir into part of a double narrative. As we all struggle to make sense of the Trump era, Alekseyeva has written and drawn a story of autocracy, revolution, and the refugee experience--and of how history affects the private lives not just of its eyewitnesses, but of many subsequent generations.
When I got home that night, I plugged my camera into my laptop and discovered that the images I had shot—without any clear intention—had captured the heartbreaking intensity of the crowd. My photos—reminiscent of the images of the 1963 March on Washington that I had recently studied—made me feel as though I had done something valuable in documenting the first breaths of resistance, and as if they might give me a voice. After posting the photographs on social media, I was surprised to discover that they served as balm for many now politically-disillusioned viewers. They felt reassured that young people, in particular, would fight back.
Pat answers are the comfort of some other disciplines. We who write and teach creative nonfiction don’t get that luxury. Ours is more like: philosophy, but with consequences. No one’s life is riding, as far as they know, on math, yet in writing classrooms and around workshop tables students may approach us like hotline workers, hands out for the right word, the final word, the bottom line, the prophecy, the truth of their life stories, and thus, their lives.
Shot Blue is written in a style that somehow combines an easy-spoken blue collar minimalism with wordplay and lyricism. The oblique, hidden emotions of the characters are balanced in part by the ingenuity and playfulness of Ruddock’s language.
On the peripheries of almost constant domestic emergency and conflict, Patricia Colleen Murphy’s poetry collection Hemming Flames lights up disaster and familial antipathy with humor and endurance. Many of the pieces in this collection share threads of the same story, featuring reoccurring family figures and familiar, though often growing, conflicts. There is an undeniable amount of devastation and trauma inside these family stories, but Murphy’s true skill lies not in showing what’s often the obvious and expected pain of it all, but in bringing a humor and an odd sense of the mundane to seemingly shocking moments.
In Jennie Yabroff’s debut young adult novel, If You Were Here, Yabroff shows the normal struggles of growing up combined with the confusion of dealing with a parent suffering from mental illness. If You Were Here follows Tess Block, a girl who relishes summer vacations where she can hide away in her grandmother’s country cabin and not have to deal with high school or family. It means no contact with her best friend, Tabitha, because there’s no cell service, but Tess enjoys the freedom of escaping NYC for a few months, and the freedom from what’s going on at home with her mother.
Dear June, I teach English at a public high school, where I am the advisor to the writing club. For a few years, including during the summer, I have also been meeting informally every week or so with a group…
The Trump administration, however, is a near perfect embodiment of the Money Cult. One need simply look at the two men on top: Trump, one of the embodiments of American capitalism, and Pence, a fervent evangelical. There is also open access in the administration for other ardent Christians, such as for the new Secretary of Housing and Urban Development, Ben Carson, a surgeon who preaches self-activation. Lehmann argues that the United States began, essentially, during the seventeenth century colonial era of John Winthrop, as a kind of theocracy, a union between religion and politics; and now it has ended with a different union, one between religion and business. In the era of Trump, this union decisively includes politics once more.
Noble Firs on Thanksgiving
Here they stand
up to their names.
Respect space.
Gently shake fists.
Crystalized fuzz,
connective tissue
so green, you forget.
Dear June,
My mother has cancer and is unlikely to live out the month. She and my dad (who has dementia and is not part of this equation) belong to a devout and strict religious denomination, in which my siblings and I were raised. The last time I saw her she told me, and apparently she has also told everyone else in the family and half the nurses in her personal-care facility, that she will not be able to rest easy in the afterlife unless I promise to give up alcohol and non-marital sex (although she calls it “fornication”). I have no intention of giving up either one. That is not my question. My question is whether I should promise anyway.
EVERGLADES an original radio play by Brough Hansen performed by Nick LaMedica (Jasper) and J. Todd Adams (Fallon) directed by Rachel Klein produced and edited by Grace Connolly Recorded Performance, full text, and an interview with the author by Grace Connolly A Note…
The unnamed narrator of The Year of the Comet is born the moment an earthquake strikes Moscow. “The earthquake was my first impression of being: the world was revealed to me as instability, shakiness, the wobbliness of foundations.” Therefore, he observes, “My feelings, my ability to feel, were fashioned by that underground blow. I had trouble understanding anything to do with stability, immutability, and firmness, even though I wanted those states I could not achieve; disharmony was closer and more understandable than harmony.”
you are telling
me my skin
is gossamer—that
i must weave
steel around myself, must
temper it, must
cradle those
who say they
let too much through
their skin—but I am
they. My family, my history
Dear June, This is the most minor of problems, but to me it is a recurring annoyance. My topic is tea! I am a tea drinker, and nobody in this coffee- and now beer-obsessed country seems to know anything about…
I am growing more and more upset at the level of vitriol and vulgarity in political discourse, if you even want to call it discourse, these days. At the same time, I can’t help feeling happy and as if “our side” has scored a point when I read about a really good insult. Daylin Leach made my heart leap the other day when he called Trump a “fascist loofa-faced shit-gibbon. ” Lately I have been sharing and retweeting all sorts of coarse and insulting stuff, even writing a few mean and/or filthy lines myself. Should I stop?
mother-mailbox is a private life, the private mode of womanhood, made public for all of us who have ever felt empty, questioned if there was more (or made new subs out of Subway sandwich wrappings to feel such a thing) and questioned how we should be feeling, but also those of us who have found beauty and humor in the “fade-proof plum lip-root mess” of it all, for those of us who seek a home within ourselves and those we make of ourselves; for those of us whose mothers or children have made spiraling, fairytale messes in our lives, flitting in and out as fragile as a flower until they suddenly take solid root.
“A book becomes a living thing only when it interacts with a reader,” says writer Gil Coleman, the rogue central character of Claire Fuller’s Swimming Lessons. When he tells a bookshop assistant that “first editions don’t matter,” he seems to argue that access is more important than ownership, that a book’s content is more valuable than the object enclosing the text. But the impulse behind the sentiment is hardly democratic; his words cast light on his unequal marriage to Ingrid, a student he impregnates, derailing her education. Infamous for a single work (the lurid and presumably autobiographical A Man of Pleasure), Gil is oddly less interested in an author’s words than in “the handwritten marginalia and doodles that marked up the pages,” and “the forgotten ephemera used as bookmarks.” By the end of his life, his wife is gone and his library is full of “bits of paper with which he could piece together other people’s lives, other people who had read the same books he held and who had marked their place.” It’s also full of clues to solve a mystery at the center of this skillfully structured and satisfying novel: Where did Ingrid go, and why?
Jean-Michel is a music professor. He sometimes writes reviews, and he gets free thickets to things. Yesterday he called me and said he had two tickets to the symphony for next Saturday night. When he told me the program and soloists, I said, very sincerely: “That sounds fabulous! Thank you!” I was just about to add that my husband and I would be thrilled to have the tickets when he said: “Great! I’ll pick you up at six and we can have dinner first.”
Throughout its 300-plus pages, Rolling Blackouts provides valuable historical contexts and multiple viewpoints to help any reader better understand the region and its people. Glidden incorporates the voices of government officials, aid workers, refugees – even a former terror suspect, among many others, in order to showcase the complicated realities of life in those countries. We meet those whose lives were improved from the Iraq War as well as those whose lives were destroyed. We meet those who love the United States, and those who say, “I don’t want to bring children into a country that could be bombed by America.” As Glidden writes: “I think sometimes journalists get caught up in the hard news part, in investigating an unknown angle. But they forget that for most of our audiences, it’s all an unknown angle.” Incorporating a large chorus of voices, Glidden hopes to inform and challenge her readers.
Playing in my Dollhouse has been important to my writing. The scenes, photos and videos I make match the imagery of the color Polaroid photographs of the 60s. I have a deep affinity for the babies, in particular. Staging a scene mimics the feeling of writing the first draft of an essay, achieving a mythic freedom on the page where my voice is alive and unconcerned with self-editing. I remember playing this way as a child, immersed in my fantasy world, and utterly happy. Children are metaphor makers and their language is play.
So They Will
Time is the lightbulb burning for the first three traffic lights
And blinking after that
Is the side street slick with remainder
And a storm cloud trying to drown
In Patrick Dacey’s first story collection, We’ve Already Gone This Far, available now in hardback and due out from Picador in paperback June 27, we find out what happens when we yield to life’s despiritualized strangeness in the twenty-first century’s overweening atmosphere of hogwild commercialism and ideological rigidity. (His first novel, The Outer Cape (Henry Holt & Co), will debut in hardback on the same date.) Dacey seems to be an interesting character himself in this regard, a bespoke and downtrodden seeker of his own soul adrift in corporatized America. The descriptions he’s given in interviews of a difficult youth and family life, the bouts of poverty he endured as an adult, are evidence of a nature informed largely by pain and wonder. His father was a gambler who went broke repeatedly and thereafter took his son on long door-to-door sales trips. Later, Dacey raised his own son while living hand-to-mouth on hourly wages, after studying under George Saunders and Mary Gaitskill at the Syracuse MFA program. The agony of the peripatetic writer undergoing economic uncertainties comes through strongly in his work; Dacey’s writing often reflects the rawness of material poverty, a certain yearning for inner enrichment or a scatterbrained longing that is as essential to his stories’ characters as their spinal cord.
BABELIA Living and Speaking Spanish in Seville, Spain by John Julius Reel 1. Learn Spanish in Your Car If you consider yourself capable of learning another language in less than two years, without immersing yourself in it twenty-four hours a…
Writing poetry has also reminded me once again to pay attention to the rhythm of language. Rhythm is central in poetry, but I often overlook it when writing nonfiction. When we read anything, there’s a hidden music to it. We hear the words, as well as the relationship between the words, the stressed and unstressed syllables, the complex intertwining of word and phrase and sentence. Listening to rhythm is understood and expected in poetry, but I’m now more conscious that it’s just as important in nonfiction. I’ve been thinking much more about rhythm and flow. I’ve started reading my nonfiction aloud, as I do with my poetry. Since I’m a musician, I’ve always at least unconsciously understood the relationship between writing and melodic line and rhythm. Writing poetry, however, has reminded me of that relationship, made me sit up and take notice. And in recent months, my nonfiction, such as my short essay “Cut,” has become more rhythmic and musical.
The essay collection My Italians: True Stories of Crime and Courage, the provocateur Robert Saviano’s newest nonfiction work, is a startling condemnation of contemporary Italian life. For about a decade, Saviano’s one-man campaign against organized crime in Naples has made him famous across Italy. But he’s little known in the U.S., or he was at least until recently when a TV adaptation of his 2007 bestseller, Gomorrah, about the crime syndicate, la Camorra, began airing on the Sundance Channel (Italian director Matteo Garrone also made a 2008 film by the same name). Yet Saviano’s expertise on the malavita and how it’s infiltrated legitimate business knows no borders. Last year, he gave a talk at a conference in England about how business transactions in London’s much-vaunted City financial district are in fact influenced and manipulated by organized crime.
My husband “Albert” has stage-four cancer. He has been given no more than six months to live, and possibly much less. So far he has been able to do some work in his home studio, but he tires easily and is starting to look quite frail. He has been very brave and, considering the circumstances, cheerful about the situation. I am glad to do almost anything I can to make things easier for him. But there is one big area of disagreement: except for our kids, who are both in school hundreds of miles away, and of course our doctors and lawyer, he refuses to tell anyone about the cancer, and has sworn me to secrecy. He says that he does not want people to feel sorry for him or treat him differently from before.
Poetry by Rachel Slotnick, reviewed by Carlo Matos IN LIEU OF FLOWERS (Tortoise Books) Rachel Slotnick’s debut collection, In Lieu of Flowers—an eclectic combination of lyric poems, flash prose, and mixed-media paintings by the author, who is also an accomplished…
Everyone kept telling me that I was writing and painting in a way that inhabited the same space and when my publisher decided to link these two worlds, at first, I was ambivalent. It was not something I thought possible. I was always working in both realms, often reimagining stories as portraits, and vice versa. I knew I was tapping into the same world, though there was a different sort of energy depending upon my point of entry. No matter how tired I was or how much my head ached, painting always made me feel better. I walked away energized, enthused, even daresay, upbeat. But writing was much more morbid. After writing, I felt drained and would often collapse into bed. It took something from me whereas painting gave me something back. I think by performing both behaviors I achieved stasis.
Bae Suah’s newest English-translated work, A Greater Music, describes the Austrian composer Franz Schubert as “a short, fat, shy myopic.” As brutal as this description is of a man who unhappily died before his 32nd year, it seems altogether different in tone when used to describe Bae’s novel itself. Filled with observatory indifference and an almost disembodied airiness, the novel comes across particularly as commentary, and as particularly rebellious. But what’s striking about A Greater Music is that it treats the work of Schubert above the man, treats the novel above the social, giving grandeur to otherwise short, fat, shy myopics. They are breathing things that were trapped in frames ill-suited for their sublimity--short in length, fat with substance, shy about their revelations, and myopic in their attentions, they are beings greater than their comportment can present. Something so heavy has rarely looked so light.
Walking home
from the protest We pour
water from the bottle another marcher
gave us over this temporary
sign With my wet and dirty
hand Lifting the fist
I would vote with Taking the side
of my arm and smearing it out
and horns crawl like an apology out of my skull;
my tongue splits in two and gropes the air
in front of my mouth. I need two tongues, you see.
One for me and one for my grandmothers.
One for Yahweh and one for Shekhinah.
One for the body and one for the blood
they would have you think was theirs.
After my initial shock wore off I found that I was very, very happy at the thought of being a mother. But Jeremy’s attitude is freaking me out. The absolutely first thing he said when I told him was: “I don’t want you to think that this means I’ll marry you.” This response devastated me for a lot of reasons. It seems ominous that this was the very first thing he thought of, not the joys or even the burdens of parenthood, much less my or our child’s welfare. I was also insulted by the tone of what he said, as if I were the supplicant for some wondrous gift he was withholding from me, not half of an equal partnership between equally committed people.
Suspect in transgender slaying says 'manhood' was threatened”
- NY Daily News, April 1, 2016
Manhood: more fragile
than the hollowed-out egg I practiced pysanky on.
More frangible than the hem
of snowbank in early March.
More delicate underfoot
than the infant sea
yes, let's
argue over semantics while
decapitated bodies and babies litter
hospital floors in aleppo and
not-my-president unites with Russia in
a fight with common enemy number 1
terrorism and extremism and
hoses spray ice and gas and bullets
against water protectors protestors while sophia’s
arm is exposed cartilage and elders ache from
head wounds let’s argue over safety
First published in South Korea in 2014, Han Kang’s new novel Human Acts is now available for the first time in the United States. American readers first encountered Kang in 2016, with the translation of her 2007 novel The Vegetarian. This strange, dark, poetic novel, about a woman who decides to stop eating meat after having a horrific nightmare, was met with great acclaim. Translated by Deborah Smith, The Vegetarian went on to win the 2016 Man Booker International Prize. While Human Acts is a rich, powerful novel in its own right, and should be read independently of The Vegetarian, it is often interesting to situate a novel against the writer’s other work.
I turn bread into tortillas.
I leave dried guajillo chiles in my wake.
My hair is wild cilantro.
My footprints are poinsettias.
My tongue is an eagle whose wings will shout.
The fringe of my rebozo is made of infinite braids.
I dare you to touch.
I am a field.
My hands are dirt, my fingernails roots.
Diego Rivera has painted them.
My bones are made of corn and chiles.
My stomach is arroz con frijoles.
My lungs are comino y canela.
My blood is lemon and salt.
