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10 Questions for D.K. Lawhorn

- By Franchesca Viaud

"Caught between Sister Eustace’s fingers, my ear is close to ripping off as she drags me through the schoolhouse and toward the steps that lead to the Mother Superior’s room. This is the only part of the morning that hasn’t gone to plan. I focus on the comforting weight of the silver dinner knife tucked into the waistband of my skirt. Its cold length digs against my hip bone and reassures me. My trip upstairs won’t end like the others. All those girls who have gone before me. I will come back down. I will slay the monster waiting up there. I will kill the Mother Superior, ear or no ear."
—from "Mother Tongue" by D.K. Lawhorn, Volume 64, Issue 3 (Fall 2023)

Tell us about one of the first pieces you wrote...


(Almost) 10 Questions for Michael Bazzett

- By Edward Clifford

There is thought behind those eyes, said my head
when it saw itself in the Polaroid held in my hand.

My face was being eaten by the glow that dissolved
my forehead into a luminous window because I was

overexposed. This is no metaphor.
—From "Exposure," Volume 64, Issue 2 (Summer 2023)

What writer(s) or works have influenced the way you write now?
My poetic family tree would definitely have a Polish branch, where Wislawa Szymborska and Zbigniew Herbert would roost, with dark jackets and glinting eyes and the intelligence of crows. And there would be a dusty evergreen Portuguese branch where José Saramago & Fernando Pessoa would settle into the dusk. And I've always loved Borges and Simic, too.



Living Documents: An Interview with Vauhini Vara

- By Chaya Bhuvaneswar

Chaya Bhuvaneswar: Tell us the journey of how you came to write the stories in this wonderful, unsettling collection. Were there some that came quickly and others that took more time?

Vauhini Vara: For me, everything I write feels like a living document, up until the time it's published in a book, and I’m no longer allowed to change it. I love going back into the same pieces over and over, getting them closer to what they’re meant to be. I began writing about half of these stories in 2008, when I entered graduate school. At the time, I didn’t conceive of them as belonging to a collection because I was just starting out as a writer. The revision process was really long—ten to fifteen years—for all of the stories I...


10 Questions for Lisa Fay Coutley

- By Franchesca Viaud

When Buddha said silence is an empty
space & space is the home of the awakened

mind, he hadn't yet crossed his legs
& held his spine both firm & calm

in the smoke-filled avocado kitchen
of my small girlhood.
—from "Cuffing Season" by Lisa Fay Coutley, Volume 64, Issue 2 (Summer 2023)

Tell us about one of the first pieces you wrote.
The first poem that comes to mind is not the first ever but the first I revised for many hours in that way I came to know as really working a piece. A few years before that, the dysfunction of my life brought me to the page, which led me to return to school as a young, single mother, and this poem, “Small Girl,” which...


10 Questions for Mónica Gomery

- By Franchesca Viaud

Today, summer is over.
Today, everybody is ready
for autumn's crimson sleight 
of hand. Everybody wants to peel
off a green dress, flirt with the bitter
temperature, get into a fight. 
—from "Rosh Hashanah" by Mónica Gomery, Volume 64, Issue 2 (Summer 2023)

Tell us about one of the first pieces you wrote.
I wrote constantly as a kid. As soon as I could put letters together, I was exhilarated to give it a try as often as possible. My mother is a visual artist, and she encouraged my brother and me to make art of all kinds. One of her best moves was buying us these blank hardcover books– the pages were unlined and open, even the covers were blank, so I could write the book, give it a...

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