The Blog

Interview with Kiki Petrosino

Sam Leon

Kiki Petrosino has authored three books: Fort Red Border (2009), Hymn for the Black Terrific (2013) and her most recent, Witch Wife (2017). A graduate from the University of Chicago and the University of Iowa Writers’ Workshop, her poems have appeared in The New York Times, Best American Poetry, Tin House, and Gulf Coast, among several other publications. She is an associate professor of English at the University of Louisville, where she also directs their creative writing program. Along with dedicating her time to residencies, fellowships, and part-time teaching at Spalding University’s MFA program, she is also cofounder of the online literary journal Transom.

A Drink to End All Drinks

Ajla Dizdarević

We are delighted to present Ajla Dizdarević's  essay "A Drink to End All Drinks," nominated by instructor Katie Prout, as winner of the second annual David Hamilton Undergraduate Creative Writing Prize. This prize is sponsored by anonymous donors who wish to honor the mentorship and support they and other students at the University of Iowa received from Emeritus Professor of English David Hamilton. In addition to publication online, Dizdarević will be awarded a $500 scholarship.


 

Techniques for Home Sutures

Ellis Panetta

We are delighted to present Ellis Panetta's essay "Techniques for Home Sutures," nominated by instructor Elizabeth Weiss, as runner-up for the second annual David Hamilton Undergraduate Creative Writing Prize. This prize is sponsored by anonymous donors who wish to honor the mentorship and support they and other students at the University of Iowa received from Emeritus Professor of English David Hamilton. In addition to publication online, Panetta will be awarded a $250 scholarship.


 

Montreux Rotholtz’s UNMARK

Jane Huffman

Montreux Rotholtz’s debut poetry collection, Unmark, is puzzling, and like all good puzzles, it challenges the puzzler to slow down and take a hard look. To pluck out a corner from a pile of pieces and lay down an edge. I’m reminded of Mary Szybist’s abecedarian “Girls Overheard While Assembling a Puzzle,” which begins: “Are you sure this blue is the same as the / blue over there?” Unmark asks this question again and again, as Rotholtz probes the connotative and emotional power of the given gestures and objects. Under her discerning floodlight, nothing is sanctified or pure—not girlhood, not beauty, not landscape, not dogma: “Blight of crop / becomes blight of fields becomes just blight.”

 

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