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Volume 59, Issue 1

FRONT COVER by Amy Johnquest, Percy Lightfoot, Star Pupil, Trent School, 2017. ALTERED CABINET CARD, CASEIN, ACRYLIC. Courtesy of the artist.

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The title of the first volume of Charlotte Delbo’s masterwork, Auschwitz and After, is straightforward: Aucun de nous ne reviendra. None of us will return. And yet, of course, some did. Scholars tell us that “Auschwitz”—the cultural symbol, synecdoche for the Holocaust—is in large part a result of the work and writings of those survivors. (What we know of Treblinka II, in contrast, depends largely on the testimony of perpetrators.) And yet, we know what Delbo means. In some sense, no survivor ever returns. The calendar of their life, whatever their future holds, dates from that single moment, that crossroads experience where they “lost the path that does not stray.” Whatever was there before has been lost forever.

In this issue, we have the honor of offering our readers a one-act play by Charlotte Delbo (previously untranslated into English), precisely forty-five years after this magazine published her...

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“We are the heirs of a legacy of creative protest [...] the teachings of Thoreau are alive today, indeed, they are more alive today than ever before.”

—REV. MARTIN LUTHER KING, JR. (MR 4.1, Autumn 1962)

From the Blog


10 Questions for Gregory Fraser

- By Abby MacGregor

My son brings home a drawing from school my wife thinks looks
like four erect penises. I say they’re just very tall mushrooms.
Daddy dick, mommy dick, son dick, daughter dick, insists my wife.
She believes all boys see the world in terms of dicks. Half of me
agrees. The bottom half. The top consents to nothing.
from “Very Tall Mushrooms,” Spring 2018 (Vol. 59, Issue 1)

Tell us about one of the first pieces you wrote.
As an undergraduate, I wrote a poem about Picasso’s The Old Guitarist, and it appeared in the campus literary magazine. I was reading a lot of Wallace Stevens back then, and, naturally, his “The Man with the Blue Guitar” powerfully shaped my vision. The poem...


“A devastating downshift”: Paula Bohince on translating Corrado Govoni

- By Krzysztof Rowiński

An Interview with Paula Bohince, winner of the 7th Annual Jules Chametzky Prize for Translation

Krzysztof Rowiński: First of all, congratulations on winning the Jules Chametzky Translation Prize! Thank you for taking the time to talk about your work. Could you start by telling me about how you came to translation? Was it something that was a result of your own writing, or was it more about the love for Italian language or literature?

PB: I began in 2015, after my third book of poems was finished but before it was published—in that kind of blank space. That collection, Swallows and Waves, was based on Japanese Edo-period artworks, and I approached those poems as a kind of erasure of self—there is no...

10 Questions

10 Questions for Emily Fragos

- By Abby MacGregor

 The body she needs me now to cut her food and feed her,
to bring the glass of sweet water, never sweeter, to her mouth,
dry and shuttered. Now it unfurls itself as mouth, fish wet
and bird ascendant to a higher branch, with the taste of peaches
on its tongue, and for a moment she is mine again.
from “My Body,” Spring 2018 (Vol. 59, Issue 1)

Tell us about one of the first pieces you wrote.
“Pompeii 79 A.D.” was one of my first poems. I shared it with others in a poetry workshop and it was admired for its minimalism, its imagery. I distinctly remember writing about a man scooping up his baby in his arms and hopelessly...

10 Questions

10 Questions for Lara Ehrlich

- By Abby MacGregor

“She empties the car onto the lawn: her gym clothes, an armful of toys, the baby seat her daughter outgrew long ago, and three bags of stuff for Goodwill. She crawls into the back, where she hasn’t been since college when her boyfriend accompanied her home for spring break. They’d snuck out of her parents’ house to the nature reserve parking lot. She’d gone down on him as headlights swept through the woods.” —from “Burn Rubber,” Spring 2018 (Vol. 59, Issue 1)

Tell us about one of the first pieces you wrote.
In elementary school, I was engrossed in writing a free-form, ongoing saga about Zohara and her wolf companion, Blubluck. Inspired by movies like Willow and books like The Lion,...

10 Questions

10 Questions for Patrick Thomas Henry

- By Abby MacGregor

“Perhaps, academic criticism attacks the “feedback loop between critical theory and artistic practice” to unconsciously deflect attention from a fear common to literary critics: that the humanities have become a cerebral echo chamber in an institutional environment that privileges STEM fields, the corporate university, and its investment portfolios. This is the fear: we write to each other, read each other, and yet fail to com­municate effectively to the general readership. Outside that circle, our scholarship doesn’t even incite negative reactions.” —from “A Defense of the Artist-Critic, Part One” Winter 2017 (Vol. 58, Issue 4), Part 2 can be found in Spring 2018 (Vol. 59, Issue 1)

Tell us about one of...

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