Free Ploughshares: Jorie Graham

Once again, it is that time of the week in which we offer a free issue of Ploughshares from our archives. This week, it’s our Winter 2001 – 2002 issue, guest edited by Jorie Graham and featuring a gamut of contributors (the full list of which can be found here.)

In order to win this issue, please comment in the space below explaining why you love Jorie Graham or any of the issue’s contributors. We’ll read through the comments and our managing editor Andrea Drygas will choose our winning commenter by noon tomorrow. After that, we’ll send you the issue and you’ll have up to thirty days to write a review that we’ll later publish on the Ploughshares blog and website, in honor of our upcoming fortieth anniversary.

The full contest details can be found here. If you’re interested in continuing to hear about this weekly contest, make sure to fan us on Facebook, follow us on Twitter, subscribe to our blog feed, or add us on Tumblr.

UPDATE: I’ve made my selection, and so this posting is now CLOSED. We’ll be doing this every week, so there will be plenty more chances for free issues. Stay tuned!

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About Rhian Sasseen

Rhian Sasseen is a rising senior and English Language & Literature major at Smith College in Northampton, MA. She is a summer editorial intern at Ploughshares.
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5 Responses to Free Ploughshares: Jorie Graham

  1. The best introduction to the Winter 2001- 2002 edition of Ploughshares is with a brief selection of Jorie Graham Graham, guest editor. She writes “..listened to the sentences flowing by–their aggressive overtaking of the space. There was no silence, there was the run run of story over it all. It sprayed forward over the unsaid until it was all plot…” This edition of Ploughshares continues with a gamut of other contributors that combine with Jorie Graham narration to form a unforced and natural, perhaps even symbiotic relationship between the exposition of a narrative and the cadence of language.

  2. Angela Spires says:

    I have in fact read very little of Jorie Graham thus far, however, in reading her intro into this addition of Ploughshares, I am interested to see her selections of poetry based on this mental place that she speaks of, that we, as writers, are always creating consciously or subconsciously in poetry and fiction. I admire her honesty in what she was looking for and how she chose it and how she had little to do with the fiction selection. While I write more fiction than poetry, I enjoy reading poetry, and think that a woman who has the passion of ideas that she displays in a simple introduction will have created and issue well worth reading and reviewing.

  3. Marc Arnts says:

    What a wonderful way to keep up with the cutting edge of literature today! I wish I had known about Ploughshares when I was teaching!

  4. C Wallace Walker says:

    Diane Ackerman’s poem “Hummingbirds,” featured in the Winter Issue, is quintessential Ackerman; hummingbirds make appearances in her novels, poems and articles. While the wee, frenetic birds are frequently featured in her writing, the common thread she weaves into all of her pieces is her thought-provoking lyricism that never distracts from the story. She has the exquisite ability to show her reader ordinary things through an extraordinary lens. From her novel “The Zoo Keeper’s Wife,” the quote “I watched her face switch among the radio stations of memory” captures a moment in her characters’s life, but echos the decades of changing rhythms in that life by employing the metaphor of changing radios stations, an experience accessible to any reader.

  5. Kim says:

    I was delighted to find the three early poems by Matthea Harvey, who went on to win a prestigious Kingsley Tufts Award for Modern Life in 2009, and is the author most recently of a beautifully illustrated, book-length erasure, Of Lamb. Here are the tactics that continue to stun me: a layer of modern allegory, structured with an indisputably literal-imaginary logic, a delighted sense of humor and sound, and odd, arresting visuals. “You opened it & found the usual vial plus six tiny ponies of assorted shapes & sizes, softly breathing in the Styrofoam” she posits in “The Crowds Cheered as Gloom Galloped Away”, a poem that beings as a play on pharmaceuticals, commercialization and depression, but ends as a fable populated by both tiny and life-sized horses. “Introduction to Eden” and “Introduction to disease” offer dialogues both polite and disjointed, with particular pinpoints of emotional acuity: “I know my diagnosis. / Friendlier than the world. / Friendlier than the world.”