Continuing our series from our contributors to Issue 17.1, today we feature Leah Umansky, who reads her poems from our pages but also describes the project they’re from, Of Tyrant.
When at lastthe last fires burnt out upon the prairie,trains could be heard passing,mournful as whales. There’s no remedy to beingsecond-rate, I heard the brakeman sayas he & his red light were pulledforever into Missouri. But still I waitedfor you like a radio tower, blinkingquietly in the night. See more poems from Issue 17.1 by …
Mary Ardery’s flash autofiction piece “Assistant Guide” gives the reader a glimpse into the addiction recovery community, where the specter of relapse, and its attendant violence, looms large.
ROSALIND: They say you are a melancholy fellow.JAQUES: I am so; I do love it better than laughing.—As You Like It Underneath this flabby exterior is an enormous lack of character.—Oscar Levant, An American in Paris Oscar Levant is a melancholy figure, full of barbed wit, self-loathing, and Rhapsody in Blue, which he performed more …
In her poem “Magnets” Laurie Clements Lambeth grapples with a reality familiar to people in extended quarantine: brain fog, a sensation she describes as “dulled, not knowing what was flesh or air or where—;”
In playwright Tanya Everett’s A Dead Black Man, Everett gives voice to the idea of the dead black man, making him an essential character in the play. Thoroughly impressed and moved by Everett’s work, I’m grateful I had the opportunity to interview her in late May for The Cincinnati Review:
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