2014 coverCover image derived from Befitting, painting by Erica Elan Ciganek  
Design by Meggan Kehrli  

C. R. Resetarits Collage Work: Hemingway, Marion, Martha, Me
Susan White Crazy Legs
Kate Lu Circuits
James Fowler Sinkhole
Erica Elan Ciganek Befitting
  Leslie II
  Just One
Leonora Weissmann Dentro da Floresta
  Autorretrato com Theo e a Gruta
  Stela, Perto da Floresta
  Marta e a Gruta
Kouta Sasai Homage to the spirits of the war dead I
  Homage to the spirits of the war dead II
  One from the lost decades
  Nine untitled images
Brett Eberhardt Red Plate (after Lopez)
  Blue Baseboard
  Blue Table
  Vent and Dining Room Floor
M. E. Silverman Mud Angel
Sandy Fontana Perigee
  A Certain Age
Holly Simonsen Spring held out her arms / and two were salty
  Basin and Range
  Shots Fire, Waterfowl Season, Deep Haze
  Bonneville, Winter
  Chinese Calligraphy, Character One, Horizon
Donna Vorreyer Reconsidering Your Eulogy
  The Attraction of Opposites
  From Far Away, He Answers
  The Running Away
Sayda Trujillo Listening: Soundscapes from Palestine

I’ve faked a lot of things in my life—knowledge, orgasms, heterosexuality, fidelity, interest—and the pretense has felt like swallowing dry leaves. But there is one thing I have derived nothing but joy from faking: clogging.

—opening of Susan White's “Crazy Legs”



2013 coverCover image & design by Meggan Kehrli  
with text from
Beautiful, by Jacqueline Wright  

William Sidney Parker I'm no expert but
Elizabeth Genovise The North Comes for Dinner
Duncan Whitmire The Birch Trees Like Whale Bones
Ben Cowan Neighbors (Tudor)
  Neighbors (Boss)
  Neighbors (Caress)
Ana Fernandez Christmas Series #1
  Christmas Series #2
Jane Fisher Ex-Pats
  Sun Bather
Marion Kryczka Winter Morning
  Birthday Cake
  Hallway, Dining Room, Kitchen
Norbert Marszalek The Visit
  Teacup and Saucer Centered
Emily Rapport Foster Cleaners
  Addison Rooftops
Dmitry Samarov Yellow Garage #2
Don Southard Green Vase
  12 Lemons
  African Still Life #1
Lloyd Aquino A year
  Still Life with a Poem, 1915 by Juan Gris
Madiha Arsalan Dhol
Salma Ruth Bratt Rabat
Liz Dolan A Mother to Her Daughter
  A Wife to Her Dying Husband
Corey Ginsberg My Smile is Breaking
  First Night Sleeping with a Gun
David M. Harris October 1979
A.J. Huffman Counting Alligators in the Moonlight
Timothy Kercher Khinkali and Chains
  Home Away from Home Away from Home
Casandra Lopez For Those Who Learn To Sew Sorrow
Albert Pertalion Cathedral Swamp
Sheila Callaghan from Everything You Touch
Jacqueline Wright Beautiful

That was the summer he taught me


is learning how to sleep under
a shimmering patchwork comforter
of sky.

—from Madiha Arsalan's “Dhol”

Marion Kryczka, PAINTINGS
Emily Rapport, PAINTINGS


2012 coverCover image by Marc Ouellette; design by Meggan Kehrli  

Catherine Grow Geese
Miriam Jordan This Is Where Your Name Comes From
Jenna Kuiper Stack
  Self-portrait in my element
  [untitled painting]
David Nakabayashi Winterstate: Snow Angel
  Winterstate: Better Betty
  Winterstate: Grain Elevator
  Winterstate: Power Plant
Jennifer Nehrbass Emerald Lake
  Across From the Prison Beside the Great Lake
  Serving Lucinda
  Tasting Juniper
Marc Ouellette LAX
Julian Goldberger, portfolio Chinese Street Opera: A dispatch from
Cristine McConnell, portfolio My House Spiders
Mark Jay Brewin, Jr. Blackrock Dive Tower
Thomas J. Erickson My Nausicaa
David M. Harris Hinda and the Leonids
Heather Holliger Methuselah
Mary Merriam Beginning to Dance
Hal O'Leary A Vow
Zara Raab Ties That Bind
Peter Serchuk One Page
Laura L. Snyder Sturgeon
Alexander N. Tan Jr., MD Stains
Caitlin Elizabeth Thomson Home in Usk
  The First Night
Kim Weild, Donnie Mather; interview What If It's a Canvas?

A Vow

will be
a silk scarf
thrown lightly about
the shoulders lest it stifle thee

—Hal O'Leary

Suzanne Sbarge, PAINTINGS
Kim Weild, THEATRE


2011 coverCover image by Diana Horowitz; design by Guy Hundere  

Lucia Mauro A Critic on Criticism...and Its New (and
  Uncertain) Landscape
Daniel Pearlman Canine Virtues
Rolli Chimpanions
Sam Bornstein Polyseme
  Aggregate Map
  Aggregate Map
Diana Horowitz New Jersey from the World Trade Center
  New York Harbor and Ellis Island
  East River and Bridges
Kyle Staver Hammock
  Reading the Observer
  Feeding the Cockatoo
Scott Williams Ground Level
  The Plant
  Frost Street (from Chance Locations series)
Theron Patterson Portfolio
Amanda René Interlude
Carol Berg The Apple Speaks
  Extra Virgin Olive Oil
Mark Jay Brewin, Jr. Standing in the Atlantic Ocean with Tesla's
Allison Campbell A Long Time Up Hard Mountain
James Cihlar Undercurrent
Flower Conroy In the Wolf's Den Gentlemen's Club
Ricky Garni Stubby's Lounge
  The Waiter Offered To
Lois Marie Harrod Among School Children
Jane Knechtel Apparition
Mira Martin-Parker My Lovely
Joseph D. Reich A Flat Right Off The Hudson In Sleepy
Monique Roussel The Contender
Michael Salcman Touch
  Mending Line
Barry Spacks Defining Eros
Guy Traiber The New York Times—Articles Selected for
Laura Madeline Wiseman First Contact
  Martian Food
Hank Bunker Futon Dialogues

How we want to believe
that experiences
contain lessons,

that a past event
dictates the present,
which encrypts the future.

—from James Cihlar's “Undercurrent”



2010 coverCover image by Joey Fagan; design by Guy Hundere  

Nathan Vogt, interview Dylan's Voice
Tom Bentley Unmarked Highway
Benjy Caplan Mysteries in Chantilly
Mishael Coggeshall-Burr V'lisu
  Flower Field
  Flower Wagon
Lily Vose O'Neal [three untitled paintings]
Ellen Wixted New Cell Phone
  Office Interior
Rachel Youens Construction 1
  Mojacar Evening
  Still Life with Laurel
Joey Fagan, portfolio Requiem for Kodachrome
Hugh Wilson, portfolio Horseman
Eric Arnold All-black dalmation
  Air in the leaves and branches
Christopher Mulrooney a flock of crows
  the stew pot
Peter Nash Sanctuary
Rolli Bev (of the Selfish Same Hills)
Robin Tung Thank You, Mrs. ——
Changming Yuan S. E. W. N.
  Beyond the Blue
Courtney Angermeier Were You There?
Elizabeth Roth from River People
Kim Weild, interview A Path to Directing

You prepare, prepare, prepare, and then you go into the room and listen and see and respond. I feel that way about my life and my teaching and my directing. You prepare, prepare, prepare, and then you show up. Consistently. Even when it is insanely hard and you want to go in the opposite direction.

—Kim Weild, from “A Path to Directing”


2009 coverCover image & design by Guy Hundere  

Rachel Youens Study, Mojacar
  Site 1
Mishael Coggeshall-Burr Chichester
Whitney Van Praagh Woods
Amina Re Aphrodite's Dream
  Aphrodite's Web
James Doubleday Jr. Temple of the Sun
  Copper Spirit Vessel
Alex Kolmanovsky Diet for Cannibals
Bill Mondi, portfolio Flagging Enthusiasm
Gen Max, portfolio Ivory Coast
Katharine Noon and Trace Turville Interview
Katharine Noon, Brian Weir, Ronnie Clark, Christel Joy Johnson, Mark Seldis, Ronald E. Wingate, Jr. Responses
Katharine Noon Elektra: Scene 8
Tom Funk Spice Jars
David Morley Shop Around
  Dull Center
S.J. Dupré Richard/Puddle Budapest 2008
  Man/Hat Budapest 2008
Nadya Tkachenko Watermelon Baby
Sue Dahlkamp Aurora Borealis, Dymond Lake
Linda Farwell [two photos]
Peter Nash What is the Sound of Little Yellow Birds?
  Sitting Under a Green Leaf Maple

Recently I observed in the workshops for the new adaptation of Clytemnestra that everyone in the room (the actors, the director) was chipping away at a moment of the play which has to do with Clytemnestra sending Orestes away. After tackling the moment a few different ways, it became clear to everyone that the audience didn't need to see the scene play out between mother and son, but that it was necessary to see the moment she decides to send him away and his reaction in the aftermath; and that seeing the actual moment of expulsion play out in real time would never be as satisfying as the scene we would imagine. In fact, the Clytemnestra we were creating would not send him away herself, but have someone else do it. This is when the process works. When the ensemble collectively knows how best to tell the story.

—Mark Seldis, on the Ghost Road Company's ensemble process


Hana Hammer



Peter Konerko

from Home


Peter Konerko



Doug Sadler

In this dream I am moving through a misting fog and there is a death that must occur. I catch glimpses of my life as I push through, moments haloed in a golden light (some sort of idyllic memory); the light never melting the fog I’m wading through. And then, suddenly, I’m in the film Paris, Texas ambling through the desert. I’m Harry Dean Stanton and I’m confused and lost.

This is nothing like the present moment. In the present moment, the day is cool and moist, the first grass cuttings of summer decaying all around. Yesterday the mowers were howling and then a fine, soft overnight rain settled everything and brought on the hopeful smell of summer decay. Chicken feed grain silos in the distance. The faint buzz of tires on asphalt.

No, this moment is nothing like that one. In this moment the possibility of quitting the fool’s game of creative pursuit, maybe hanging drywall, doing something (anything!) that dirties the fingernails, that offers a clear and simple place in the machine and allows the mind to find a steady, complacent buzz – in this moment that possibility holds an exotic allure.

But the moments are not related. To force them together would be to fall into the trap again: the majestic seeking of mythic undertones. And I’ve quit all that. No more of the “creative life” for me. The wracking of mind and soul to inspire oneself and others, to account for real or imagined slights, to earn some imaginary love or worth – no, no, no.

No, this moment and that moment, they do not connect.

Portrait of girl, blue background


Susan Dupré

Blossoms on Route 5


Susan Dupré

Mosquito Lake


Christine Hulson

For Georgia


Christine Hulson



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