When I’ve read this poem at events or workshops, most folks think of it as a take on Bishop’s “The Fish.” And, of course, Bishop is well known for her fishing imagery, being from Nova Scotia, etc. My favorite poem of hers is “At the Fishhouses,” which provides the epigraph for my full-length collection, Confluence. All of this to say, the driving force behind “Imagination” is Bishop’s “The Riverman,” a poem that is less well-known. It is rough-hewn, very narrative, and based in Brazilian myth. Bishop lets her hair down in this piece.
At the moment, Melanie is most interested in the oppression of the prison population and how the literary world and this journal can do more to reach out to those in prison and work toward helping reforms happen within both the justice and prison systems.
It is a tremendous collision of possibilities and impossibilities. The blurry density of saturated darkness and the eruption of light embedded into the silky skin of Mylar speak to the opposites that exist in us all.
I was inspired to make these sculptures after visiting Drach Caves in Mallorca, where stalagmites and stalactites seemed to resemble groups of people. While I was surrounded by this nature-made art, I wanted to emulate nature. Stalagmites are created by the dripping of dissolved calcite over thousands of years; this is what moved me to make these sculptures using the drip method.
For a few years now, working on a collection of epistolary poems, addressed to my estranged father, I’ve been pronouncing epistles like “epistols.” It is
I discovered feminism in a very strange place: a Critical Methods literature class during sophomore year of college at George Washington University. Critical Methods was
I first discovered Lili Almog’s work at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, where her stunning images illuminated an intimate stillness
The following is a guest post by Spring 2013 fiction contributor, Sarah Seybold. As I worked on “Empty Cases,” I didn’t think of it as