The Blog

2016–17 Internships at The Iowa Review

TIR staff

The Iowa Review (TIR) seeks three UI undergraduate interns for the academic year 2016–17 (one intern with an interest in fiction, one with an interest in poetry, and one with an interest in creative nonfiction) as part of a partnership with the Iowa Center for Research by Undergraduates (ICRU). Please note that we are currently not offering a summer internship.


Candidates must be University of Iowa undergraduates, have a UI GPA of 3.33 or above, be entering their junior or senior year, and be English majors. They should be able to work independently and should have a strong interest in literary writing, editing, and publishing.


Interns will work 5-10 hours a week from August 22, 2016, through May 12, 2017 (University breaks not included), and receive a scholarship of $2,000 ($1,000 per semester).


Michael Magras

In Film According to François Truffaut, the great director of The 400 Blows and Jules and Jim says, “I always preferred the reflection of life to life itself. If I chose books and films, from the age of eleven or twelve, it’s because I preferred to see life through books or films.” Truffaut wasn’t the only one who felt this way. For some people, film isn’t just a passion. It’s the prism through which they view the world. 


Jeremy Griffin

As a native of Louisiana, I followed closely the events surrounding the 2010 BP oil spill. I remember the grisly footage of the black oil jet spurting up from the floor of the Gulf, and I recall the succession of fruitless strategies put into effect until finally the breach was contained. But most of all, I remember the feelings of frustration this evoked in residents, who were virtually powerless against the 68,000-square-foot slick decimating the ecosystem.


Patrick Whitfill

Sean Bishop’s debut collection of poems is not, as the foreword states, for the faint of heart. These are poems of longing and loss, of wishing and wishes, of desire, and of the unequivocally true knowledge that wishes do not, and will not, come true. These poems unsettle the ground and call into question our own connections with our family and with language, as well as our religious and secular understanding of the world. Throughout The Night We’re Not Sleeping In, we have a speaker trying to be heard by an absent father, an absent god, or his fellow partners in suffering. At times, the speaker seeks forgiveness:


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