This month, I read work from both genderqueer and transgender writers. Inspired by recent tweets, blog posts, and press releases supporting works by these writers, it seemed a good opportunity to spotlight these three chapbooks.
This Is the Homeland Mary Hickman Ahsahta Press, May 2015 80 pages $18.00 Buy book Mary Hickman’s first volume of poetry begins dazzlingly with “Joseph and Mary,” a poem carved out of Joyce’s Ulysses. Whether this was done by dramatic erasure or by mosaic-like re-arrangement of fragments is hard to
“If you expect nothing from anybody, you’re never disappointed,” wrote Sylvia Plath. Human beings can’t help but have expectations of each other and of themselves, even if those expectations are for nothing (which, of course, they never are). In D.J. Thielke’s “Persons of Interest” (Crazyhorse 87), the expectations characters
There are as many names for the sun as there are languages; it might be tempting to believe that each of those names, then, means the same thing. Joanna Lynne Ponce’s story “Café con Leche” (Clackamas Literary Review XIX) exposes how critical language can be in giving definition to
Physical beauty is like an innate talent or gift in that it can provide wonderful opportunities to its possessor that aren’t as easily available to others, if at all. But every blessing can also be a curse. In “Miniature Lives of the Saints” by Anthony Wallace (Missouri Review 38:1)
I believed in ghosts as a kid. Since then, I’ve wondered why I wasn’t ever fascinated by the lore of other supernatural creatures. I think it’s in large part because ghosts—unlike angels, demons, vampires, or werewolves—didn’t seem to have such a strict set of rules governing their existence. In
The older I get, the more I notice that my handwriting resembles my mother’s. Her cursive is so even, consistent, and precise that her letters and grocery lists look like they’ve been typed up on the computer and printed out. My handwriting isn’t like that—it’s sloppy and irregular—but when
Stories written in the first person are supposed to be more intimate and allow us greater access to the emotions and thoughts of the narrator than second or third person. But what about the characters who aren’t eager or able to articulate their feelings? What happens when we give