Volume 53, Issue 2 | Fall 2023

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Table of Contents

In this issue: a broken oven, bad friends, EMTs, a sulking room, breast cancer, a Polaroid Automatic Land Camera, claw machines, and more.

FICTION
Hannah P.  Thurman | Agency
Sophia Emmons-Bell | Basic Life Support
Emily Kiernan | The Claw
Amber Blaeser-Wardzala | The Splintering
James Whorton Jr. | Why People Stay Up All Night
Alanna Schubach | The Oracle

POETRY
Felicia Zamora | Science of Undoing | Upon Remembering the Statistic
Kate DeLay | for Acie
K. Avvirin Berlin | I Am the Fugitive Daughter of Your Eyes | Orion Women | Pilot, 1935
Chloe Martinez  | Self-Portrait as the Ghent Altarpiece | Sulk
Mag Gabbert | Turing Test
Dorsey Craft | When You Are Thirteen
Cindy Juyoung Ok | Congratulations
Jessica Greenbaum | 1491 | WWWP AM & FM
Eric Roy | Tangerine
Steve Langan | Funeral Fillers
Shelby Handler | The Worms
David Gorin | A Moon’s Moon​​​​​​

NONFICTION
Joseph Holt | Eight Modern Mysteries of the Alaskan Interior
Katherine Zlabek | If It Wants to Break
Sean Bernard | The (            ) Field
Jason Sepac | Polaroid Automatic 104 Land Camera
Joshua Unikel | Wreckage
Lesley Jenike | Lavender
Tan Tuck Ming | On Compression
Matthew J. C. Clark​​​​​​​ | Manatee (Afterward)​​​​​​​

ARTWORK
From Jason Sepac’s visual essay “Polaroid Automatic 104 Land Camera”

Editor's Note

Vocabulary

After years of eavesdropping on my children, I can’t help sometimes trying on their words. Hence the time a few months ago when I casually slid the remark “That is so cringe” into a conversation with the twelve-year-old.

“MOM,” came his response. “Never say that again.”

“Oh, so if I say ‘cringe,’ it’s cringe?” I taunted.

He just shook his head, unable to speak with the horror of it all. If using “cringe” as an adjective was already sooooo 2022, my borrowing it became the last nail in the coffin of any social currency it may have had.

Pounding in that nail further, “cringe” had just been officially explained by the New York Times. I know because I subscribe to the Sunday paper, because I am of the demographic socialized to engage with printed matter, the same demographic that gets solicited for membership in a certain megalobby on aging, and the one that presumably needs the phrase “so cringe” explained to them. I felt smug because I already knew, thanks to my hip little housemates. They keep you young, I always say of being an older parent, and this is one of the most delightful ways.

A few weeks later, the Times turned its attention to “hacker.” Thanks to all the YouTube “Noob, Pro, or Hacker?!” videos I had been made to watch by the seven-year-old, I already had its current connotations down.

When I’m not word-hunting at home, I’m doing so at work, this semester while co-teaching a class on literary editing with managing editor extraordinaire Katie Berta. We use TIR as our lab. In my first lecture, I attempted to tell the class what a literary magazine is for: “It shows us how we live now.”

Here are some of the words used by writers in this issue:

Narcan.

Self-care.

Girlboss-quitting (as in, quitting in a style befitting a girlboss).

Podcast.

Roomba.

Click-through rate.

Claw machine.

IHOP.

Earbuds.

Each conjures familiar images from my world before pulling me into the singular vision of a poet, essayist, or fiction writer. I travel to an ambulance that stocks Narcan. View a message thread on self-care between a mother of small children and her text-only therapist. Glimpse the routine of a teenage cashier in a sticky boardwalk arcade.

Time as well as space are bridged. I’m at a cutthroat New York advertising agency circa 2017, Cardi B playing in the background. Seated at a Mississippi pancake house at 3 a.m. with some undergraduates.

Sometimes we go quite far. To the bottom of the Sea of Crete with a sunken ship called the Tanais. To the Georgia State Penitentiary in 1909. My usual world and words are left behind, and I learn new ones. But still, there’s something about how we live now in what preoccupies us about the past.

Back in my living room, my boys and their friends shout excitedly as they play video games. Words catch my ear: “broken” (good), “sick” (good), “OP” (overpowered), “spam” (hit a button over and over again), “troll” (annoy another player). Words that rise and fall, that change in meaning daily, the way living things change. I enjoy the ride and try to pay attention.

—Lynne Nugent

Contributors' Notes

K. Avvirin Berlin is the 2023 winner of the Jean Feldman Poetry Prize. Her full-length collection, Leda’s Daughters, was published in October 2023 with Washington Writers Press. She lives in Charlottesville, Virginia.

Sean Bernard is the author of the collection Desert sonorous and the novel Studies in the Hereafter. He edits the journal Prism Review, serves as fiction editor for Veliz Books, and is on the AWP board of directors.

Amber Blaeser-Wardzala is a White Earth Nation Anishinaabe writer, beader, and fencer. A Tin House Fellow and MFA in fiction candidate at Arizona State University, she has writing in Passages North, Tahoma Literary Review, CRAFT, and others.

Matthew J. C. Clark lives and works as a carpenter in Bath, Maine. His first book, Bjarki, Not Bjarki: On Floorboards, Love, and Irreconcilable Differences, will be published in January 2024. More info at matthewjcclark.com.

Dorsey Craft is the author of Plunder (Bauhan Publishing, 2020). She teaches at University of North Florida and is assistant poetry editor for Agni. She co-organizes Dreamboat Reading Series with Jessica Stark in Jacksonville, Florida.

Kate DeLay is a poet from Tennessee. Her work can be found in the Ekphrastic Review and Quarterly West. Kate attends the University of Alabama’s MFA program and is the editor in chief of Black Warrior Review.

Sophia Emmons-Bell is an MFA candidate at the Michener Center for Writers. She is from Berkeley, California. Her work has appeared in the Kenyon Review and the Harvard Advocate.

Mag Gabbert is the author of SEX DEPRESSION ANIMALS, which won the Charles B. Wheeler Prize in Poetry, and the chapbooks The Breakup and Minml Poems. She lives in Dallas, Texas, and teaches at Southern Methodist University.

David Gorin is the author of To a Distant Country, selected by Jennifer Chang for the Poetry Society of America Chapbook Fellowship and forthcoming in 2024. His poetry has appeared in A Public Space, Boston Review, the PEN America Poetry Series, and elsewhere. He lives in Phoenix, Arizona, with Charlotte McCurdy and their hound dog, Odin.

Jessica Greenbaum’s third book, Spilled and Gone, was chosen by the Boston Globe as a Best Book for 2021. She is also a co-editor of Tree Lines: 21st century American Poems (Grayson, 2023). Find her at poemsincommunity.org.

Shelby Handler is a writer, organizer, and educator living in Seattle on Duwamish land. Recent work has appeared in POETRY, Poetry Northwest, PANK Magazine, and The Journal, among others.

Joseph Holt is author of the story collection Golden Heart Parade. He graduated from the Center for Writers at the University of Southern Mississippi, and he now teaches at the University of Alaska Fairbanks.

Lesley Jenike’s work has appeared recently in the Bennington Review, Image, 68to05, The Rumpus, and many other journals. She teaches writing and literature at the Columbus College of Art and Design in Columbus, Ohio.

Emily Kiernan is the author of a novel, Great Divide. Her work has appeared in American Short Fiction, PANK, Quarterly West, and other journals. She lives in Pittsburgh with a husband, a child, and several wild beasts.

Steve Langan is the author of Freezing, Notes on Exile & Other Poems, Meet Me at the Happy Bar, What It Looks Like, How It Flies, and Bedtime Stories (Littoral Books, 2024). He lives in Yarmouth, Maine.

Chloe Martinez (she/her) is a poet and a scholar of South Asian religions. The author of the collection Ten Thousand Selves and the chapbook Corner Shrine, she lives in Claremont, California, with her husband and two daughters.

Tan Tuck Ming is a writer, editor, and an MFA graduate from the University of Iowa. Born in Singapore and raised in Aoteroa New Zealand, he has been generously supported by fellowships from Tin House and the School for Poetic Computation. His writing is published or forthcoming in Kenyon Review, MQR, The Rumpus, The Offing, and other publications.

Cindy Juyoung Ok is the author of Ward Toward (Yale University Press, 2024) and teaches creative writing at Kenyon College.

Eric Roy is author of All Small Planes (Lily Poetry Press, 2021). His poetry and fiction also appear at Bennington Review, Fence, Ploughshares, Salt Hill, and elsewhere.

Alanna Schubach is the author of the novel The Nobodies (Blackstone, 2022). Her short fiction has appeared in Shenandoah, Sewanee Review, Massachusetts Review, and more. She lives in New York.

Jason “ Jay” S epac is  an essayist and visual artist from Pittsburgh, Pennsylvania. His visual essays and nonfiction have appeared or are forthcoming in Kenyon Review Online, Fourth Genre, The Normal School, and elsewhere. He received an MFA in creative writing from Oregon State University and currently lives in Portland, Oregon.

Hannah P. Thurman is a Brooklyn-based writer originally from Raleigh, North Carolina, whose short stories have appeared in Michigan Quarterly Review, The Brooklyn Rail, Meridian, and others. The winner of The Florida Review’s 2023 Editor’s Prize for Fiction, she has been chosen for conferences/ residencies at Bread Loaf, Vermont Studio Center, Virginia Center for the Creative Arts, and Yaddo. She recently completed her first novel.

Joshua Unikel’s work has appeared in The Journal, TriQuarterly, Fugue, PANK, The Normal School, Sonora Review, and other national journals. He is an assistant professor in the University of Houston’s School of Art.

James Whorton Jr. is the author of three novels. His work has appeared in journals including Oxford American, Gettysburg Review, Southern Review, Sewanee Review, Mississippi Review, and Chicago Quarterly Review.

Felicia Zamora is the author of six books of poetry, including I Always Carry My Bones (2020 Iowa Poetry Prize winner), and an assistant professor of poetry at the University of Cincinnati.

Katherine Zlabek’s story collection, When, is available from The Ohio State University Press. Her stories and essays have appeared in Boulevard, Kenyon Review, Ninth Letter, and other journals.

Masthead

Editor
Lynne Nugent

Managing Editor
Katie Berta

Nonfiction Editor
Aaron Pang

Fiction Editor
Noor Qasim
Natalia Zdaniuk

Poetry Editor
Jen Frantz

Editorial Consultants
Michaeljulius Idani, Laura Julier, John Peters

Design & Typesetting
Pocket Knife Press 

Fulfillment Manager
Shannon Yost

Governing Board
Charles D’Ambrosio, Meenakshi Gigi Durham, Melissa Febos, Lois Geist, Loren Glass, Christopher Merrill, Susan Hill Newton, D. K. Nnuro, Roland Racevskis, Jan Weissmiller

Editor Emeritus
David Hamilton

Editorial Assistants
Sunny Ahmed, Alessandra Allen, Ren Arcamone, Renée Bailey, Julián Bañuelos, Caelainn Barr, Hilary Bell, Evana Bodiker, James Braun, Terri Draper, Zea Eanet, Reyumeh Ejue, Georgie Fehringher, Evan Goldstein, Jake Goldwasser, C. J. Green, Kari Gremore, Oso Guardiola, Gyasi Hall, Luke Jorgensen, Rachel Kaufman, Hajrije Kolimja, Juliana Lamy, Mariel Murray, Logan Naylor, H. Thao Nguyen, Grace Oeth, Mofiyinfoluwa Okupe, Hannah Piette, Nick Runyon, Clay Scofield, Delilah Silberman, Jenee Skinner, Alana Solin, Olivia Tonelli, Olivia Tse, Diane Vadino, Julia Wohlstetter, Dan Wriggins, Margaret Yapp, James Zhu