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Interviews

10 Questions for Tiffany Midge

- By Edward Clifford

a: You are chopping onions for yet another pot of lentils, hips pressed up against the kitchen counter, when first you hear it. The sound of mewling. Barely audible. You put down your knife.

b: One year earlier, on fellowship in Kansas, you are returning to your Airbnb from your walk. You see your house and yard down the street within view, but something looks peculiar. As you come closer, you can make it out: a vulture feeding on a possum's corpse
—from "sheltering," Volume 61, Issue 4 (Winter 2020)

Tell us about one of the first pieces you wrote.
I wrote about the sky as if it were a patchwork quilt—“seams and denim skies.” And I workshopped it with William Stafford at a community poetry class, and...


Interviews

10 Questions for Summer J. Hart

- By Edward Clifford

In the end days, eyes
turn around,     softened

mouth like fog on the window.

 

The first tongue to catch the new language is a rotten egg
—from "Salt for the Stain," Volume 61, Issue 4 (Winter 2020)

Tell us about one of the first pieces you wrote.
At first, my poems were basically a catalog of thoughts or lists (lists of lists) tapped into the notes app on my phone: 12 vultures, 3 crows, the dog’s impossibly coiled tail. The first piece I wrote for publication was in response to a call from Northern New England Review with the theme of “True North.” The dog’s impossibly coiled tail became “Verses for a Double Murder,” the first in a series...


Interviews

10 Questions for Shaina A. Nez

- By Edward Clifford

‘Ałk áą́’i’, long ago.
Bąą, on account of, before our people emerged to the fourth world, Nihalgai, Glittering world.
Chahałheeł, darkness, happened, and we would adapt to newness, the light, ‘adinídíín.
Ch’ah and the western wear—the urban Indian cowboy, and for some, ranching became routine and we honored the animals since we emerged with them. Now we live to serve the łíí’, beegashii, dibé, tł‘ízí, na’a’ho’he, na’a’ho’hebiyazhi.
—from "Diné Abecedarian," Volume 61, Issue 4 (Winter 2020)

Tell us about one of the first pieces you wrote.
In elementary, I was...


Interviews

10 Questions for Stephen Graham Jones

- By Edward Clifford

This is the story of when I stopped trusting people.

I'm seventeen, living the life. Work all day, drink all night, never worrying about bills or tomorrow. The songs I was listening to were my script. We've all been there; I don't need to go into it. What happened, though, was that one bleary bright morning I run into a guy in a parking lot who tells me somebody I know got raped last night, maybe at a house I'd been in for a few minutes.
—from "The Guy with the Name," Volume 62, Issue 4 (Winter 2020)

Tell us about one of the first pieces you wrote.
Called “The Gift.” I wrote it when I was nineteen, sitting in an ICU for three days. It’s a girl waking up in the ICU after a car crash in...


Interviews

10 Questions for Esther Belin

- By Edward Clifford

Hosteen dibé bitsą́ą́' yiyą́ą́—hey ya
Hosteen dibé bitsą́ą́' yiyą́ą́—hey ya
Hosteen dibé bitsą́ą́' yiyą́ą́—hey ya
Hosteen dibé bitsą́ą́' yiyą́ą́—hey ya
—from "Sonnet 1," Volume 61, Issue 4 (Winter 2020)

Tell us about one of the first pieces you wrote.
I took a creative writing class in high school. I wrote a poem about my father. It was a short image poem. My teacher was impressed. She entered it in a contest. I did not win the contest but I did receive recognition. I did not think much about creative writing at the time but it was a special feat for me because the poem honored my father.

What writer(s) or works have influenced the way you write now?...


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