Issue 2 Contributors
Rosebud Ben-Oni is a playwright at New Perspectives Theater, where she is at work on her play Shamhat. She is also developing her play Midnight in Matamoros with Bob Teague of Truant Arts Theater Company, with music by Carlton Zeus. Recently her story “A Way Out of the Colonia” won the Editor’s Prize in Camera Obscura. She is a co-editor of HER KIND, the official blog of VIDA: Women in Literary Arts. Her first book of poems, SOLECISM, will be published by Virtual Artists Collective in early 2013. She is at work on a novel and a second collection of poems, Somewhere in the Darkness, We Broke Even.
Sarah Ciston edits the literary zine We Still Like and runs Bootleg Books, which helps authors and small presses launch books outside the mainstream but in style. Her writing has appeared in ZYZZYVA, Arroyo Review, Invisible City Audio Tours and elsewhere.
Sharon Coleman’s poetry has appeared in Caesura, Criminal Class Review, Try!, The Walrus, Syllogism, Berkeley Poetry Review, Ghost Town/Pacific Review, North Coast Literary Review, Folio, and online at Full of Crow, Lily, and Dark Sky Magazine. She’s a contributing editor at Poetry Flash and teaches poetry writing and composition at Berkeley City College. She is also the co-curator of the reading series, Lyrics & Dirges.
Will Cordeiro lives in Tucson and is currently a Ph.D. candidate studying 18th century British literature at Cornell University. Recent work appears or is forthcoming in Fourteen Hills, Crab Orchard Review, Flyway, Copper Nickel, Memoir (and), and Raintown Review. He is grateful for residencies from Risley Residential College, Provincetown Community Compact, Ora Lerman Trust, Blue Mountain Center, ART 342, and Petrified Forest National Park.
Charles Dawson is from New Zealand, and has studied the literature of rivers at UBC, Canada. His best river teachers have been the Atihaunui a Pāpārangi people, along with Ted Leeson and Kathleen Dean Moore. He has worked in areas such as Māori and indigenous peoples rights and is a member of the literature & the environment network in the Antipodes. He’s spending 2012 on the rich red earth of Far North Queensland, Australia, where cuts to the arts and conservation are, alas, de riguer.
2011 American Book Award winner Camille T. Dungy is the author of three books, including Smith Blue and Suck on the Marrow, editor of anthology Nature: Four Centuries of African American Nature Poetry, and co-editor of From the Fishouse: An Anthology of Poems that Sing, Rhyme, Resound, Syncopate, Alliterate, and Just Plain Sound Great. Professor in the Creative Writing Department at San Francisco State University, Dungy’s honors include an NEA fellowship, two NACCP Image Award nominations, and two Northern California Book Awards.
James Engelhardt’s poetry has appeared in Laurel Review, Hawk and Handsaw, Painted Bride Quarterly, and elsewhere. His work is forthcoming in North American Review, Natural Bridge, and other journals. James’ ecopoetry manifesto is at octopusmagazine.com. He is the Acquisitions Editor for the University of Alaska Press.
Maureen Eppstein has two poetry collections: Rogue Wave at Glass Beach (2009) and Quickening (2007), both from March Street Press. She is executive director of the Mendocino Coast Writers Conference.
Eric Heyne teaches American literature and critical theory at the University of Alaska Fairbanks. In addition to poetry, he publishes essays on Alaskan and northern Canadian literature, contemporary American literature, and the theory of the fiction/nonfiction distinction.
Sean Hill is the author of Blood Ties & Brown Liquor (UGA Press, 2008). His awards include fellowships from Cave Canem, The MacDowell Colony, the University of Wisconsin, and Stanford University. His poems have appeared in Callaloo, DIAGRAM, the Oxford American, Ploughshares, Poetry, Tin House, and numerous other journals, and in several anthologies including Black Nature and Villanelles. His second collection of poetry is forthcoming from Milkweed Editions in 2014. More information can be found at www.seanhillpoetry.com.
Jane Hirshfield’s seventh book of poetry is Come, Thief (Knopf, 2011). Her honors include fellowships from the Guggenheim and Rockefeller foundations and NEA, and she has received the Poetry Center Book Award, The California Book Award, and been a finalist for the National Book Critics Circle Award. Her work appears in The New Yorker, Atlantic, Orion, Poetry, and seven editions of The Best American Poetry. In 2012 she was named a Chancellor of the Academy of American Poets and the third recipient of the Donald Hall-Jane Kenyon Award in American Poetry.
Cindy Hunter Morgan recently won The Ledge Press Poetry Chapbook Award. Her chapbook, The Sultan, The Skater, The Bicycle Maker will be published in late October 2012. The poems in this issue are part of her new manuscript about her grandparents’ farm. She grew up working in their apple orchard and roaming in their woods and pasture, and it was there where her love of place-based writing began. She lives in East Lansing, Michigan.
Tim Kahl is the author of Possessing Yourself (Word Tech, 2009) and The Century of Travel (Word Tech, forthcoming). His work has been published in Prairie Schooner, Indiana Review, Ninth Letter, Notre Dame Review, The Journal, Parthenon West Review, and many other journals in the U.S. He appears as Victor Schnickelfritz at the poetry and poetics blog The Great American Pinup and the poetry video blog Linebreak Studios. He is also editor of Bald Trickster Press and Clade Song. He is the vice president and events coordinator of The Sacramento Poetry Center. He currently houses his father’s literary estate—one volume: Robert Gerstmann’s book of photos of Chile, 1932.
Genevieve Kaplan’s poems have recently appeared in H_NGM_N, Rhino, Western Humanities Review, and Yew: A Journal of Innovative Writing & Images by Women. Her book In the ice house won the 2009 A Room of Her Own Foundation poetry prize and was published in 2011 by Red Hen Press.
Christopher Martin lives with his wife and their two young children in the northwest Georgia piedmont, between the Allatoona Range and Kennesaw Mountain. Much of Chris’s writing, such as the poem in this issue, is rooted in this rich yet constantly overlooked topography of suburban Cobb County. In fact, the poem here is from a manuscript-in-progress, coauthored with David King, about the environs of Gahneesah, the Cherokee name for Kennesaw Mountain that means “burial ground” and from which both mountain and the town of Kennesaw derive their names. Chris is the author of the poetry chapbook, A Conference of Birds (New Native Press, 2012), and some of his poems and essays have appeared or are forthcoming in Shambhala Sun, Ruminate Magazine, Drafthorse, Still: The Journal, Buddhist Poetry Review, and the Southern Poetry Anthology, Volume V: Georgia (Texas Review Press, 2012), among other places. Chris edits the online literary magazine Flycatcher: A Journal of Native Imagination and is a contributing editor for New Southerner. He is pursuing a Master of Arts in Professional Writing at Kennesaw State University. For more information on Chris and his work, please visit www.christopher-martin.net.
A native of Portola Valley, California, Rebecca Mayer now spends most of her time in Telluride, Colorado, when she is not wandering the far reaches of the globe studying yoga. She is a blogger for the documentary film, Bag It, and received her MFA from San Francisco State University.
Catherine McGuire has had poems published in venues such as Adagio, FutureCycle, Green Fuse, New Verse News, Nibble, Portland Lights Anthology, and Tapjoe. Her chapbook, Palimpsests was published by Uttered Chaos in 2011. She has two self-published chapbooks. Her website is www.cathymcguire.com.
Christopher Lee Miles’ work appears in Connecticut Review, Cortland Review, Sugarhouse Review, and is forthcoming in Salamander and War, Literature, and the Arts. A veteran of Operation Iraqi Freedom and Operation Enduring Freedom, he lives in Fairbanks, Alaska.
Francis Raven’s books include the volumes of poetry, Architectonic Conjectures (Silenced Press, 2010), Provisions (Interbirth, 2009), Shifting the Question More Complicated (Otoliths, 2007) and Taste: Gastronomic Poems (Blazevox, 2005) as well as the novel, Inverted Curvatures (Spuyten Duyvil, 2005). His poems have been published in The Tulane Review, Dandelion, Trnsfr, Bath House, Chain, Big Bridge, Bird Dog, Mudlark, and Spindrift, among others. His critical work can be found in Jacket, Logos, Clamor, The Journal of Aesthetics and Art Criticism, The Electronic Book Review, The Emergency Almanac, The Morning News, The Brooklyn Rail, 5 Trope, In These Times, The Fulcrum Annual, Rain Taxi, and Flak.
Diana Rosinus is a writer, painter, and budding graphic designer. She is a graduate student in Creative Writing at San Francisco State University and the poetry editor of Fourteen Hills. Find more of her poetry soon in Foundling Review.
Murray Silverstein’s poems have appeared in Rattle, Hunger Mountain, West Marin Review, Brooklyn Review, Poetry East, RUNES, ZYZZYVA, Nimrod, Spillway, and other journals. His first book of poems, Any Old Wolf (Sixteen Rivers Press, 2006), received an Independent Publisher’s award. Also for Sixteen Rivers, he edited the anthology, The Place That Inhabits Us: Poems of the San Francisco Bay Watershed (2010). A practicing architect and co-author of A Pattern Language, Silverstein lives in Oakland, California.
Tess Taylor grew up in El Cerrito, California, and holds graduate degrees in writing from New York University and Boston University. Her chapbook of poems, The Misremembered World, was selected by Eavan Boland for the Poetry Society of America’s inaugural chapbook fellowship, and her work has appeared in The Atlantic, Boston Review, Harvard Review, Literary Imagination, The Times Literary Supplement, and The New Yorker. She was the 2010-2011 Amy Clampitt Fellow in Lenox, Massachusetts. After 17 years away, she lives again in El Cerrito. Her book of poems, The Forage House, is forthcoming from Red Hen Press.
harold terezón was born in East L.A. and raised in Pacoima, California. He studied at the University of California, Berkeley and San Francisco State University. He was awarded the PEN USA Rosenthal Emerging Voices Fellowship in 2006. His work has appeared in Blue Print Review, Amistad, Strange Cargo: An Emerging Voices Anthology, Rushing Waters Rising Dreams: How the Arts are Transforming a Community, Puerto del Sol, among others. harold is a Teaching Artist for WritersCorps where he teaches poetry at a middle school and high school in San Francisco. He often returns to the Salvadoran Corridor in Los Angeles to remind students about the importance of poetry, community, and higher education. He is currently working on his first collection of poetry, 13816 Judd St.
Zayne Turner grew up in the rural High Desert of Oregon. She is the author of the chapbook, Memory of My Mouth, available now from dancing girl press. She has received grants and fellowships from the Vermont Studio Center and the University of Virginia, where she was a Henry Hoyns Fellow. Aside from these pieces, some of her work can be found in or forthcoming from Ancora Imparo, Coldfront, Terrain.org, and High Desert Journal.
Kerry Vander Meer received her MFA in sculpture from Mills College in 1990. Her work explores the natural world through multiple media – from painting, to printmaking, performance and sculpture. Her diverse work has been presented at museums, galleries, and universities, and has been honored with multiple residencies – in Spain, Ireland, New York, California, and Mexico. Her works appear in collections in U.S., Germany, Spain, Ireland, China, and Japan. She currently lives in Oakland, California, and Mazatlan, Mexico where she teaches monotype workshops. Visit: www.kerryvandermeer.com.
Nicholas YB Wong is the author of Cities of Sameness. His poems are forthcoming in American Letters & Commentary, Harpur Palate, Natural Bridge, Redactions, The Pinch Journal, POOL, and upstreet. He is the recipient of Global Fellowship Award at ASU Desert Nights Rising Stars Writers Conference and a winner of Hawai’i Review’s Ian Macmillan Writing Contest (Poetry). He edits the poetry section for Mead: Magazine of Literature and Libations, and reads poetry for Drunken Boat. He has recently been nominated for a Pushcart Prize.