Post Road Magazine #22
Post Road #22

Issue 22

FICTION:
The Zulo, by Julian Zabalbeascoa
Man's Best Friend, by Ann Hood
Sailor Man, by Jason Ockert
Little Marvels, by Julie Innis
 
NONFICTION:
The Memory Pavilion, by Elizabeth Kadetsky
The Coffin Handles Were Stalks of Wheat, by C. Ronald Edwards
Once In Cuba, by Eliezra Schaffzin
 
CRITICISM:
A Literary Manifesto after the End of Literature and Manifestos, or Nude in Your Hot Tub with a Good View of the Abyss, by Lars Iyer
 
POETRY:
Portrait of Crippled Poet as Woman + Art Lesson, by Erin Lynn Marsh
Harmonica + Harmonica II, by Amorak Huey
Aandaal: The Autobiography of a Goddess, by Priya Sarukkai Chabria and Ravi Shankar
The Bridges Are on the Ground + Chord & Hem, by Alessandra Simmons
 
ART:
Yolanda Petrocelli, by Elizabeth Ferrer
 
RECOMMENDATIONS:
Jennifer Egan Is Better than Jonathan Franzen, by Marie Myung-Ok Lee
"A Loud, Lonely Cry for Happiness": The Late George Apley, by John P. Marquand — Sarah Braunstein
Six Memos for the Next Millennium, by Italo Calvino — Stacy Carlson
Mark Slouka's Essays from the Nick of Time,, by Valerie Duff-Strautmann
"Are You Making Fun of Me?", by Alethea Black
Trash and Bastard Out of Carolina, by Dorothy Allison — Devon Sprague
 
GUEST FOLIO: Edited by Lad Tobin
The Dreariest Art, or Why I Write Book Reviews, by Leah Hager Cohen
Why I Write for Children by Carolyn Coman with Rob Shepperson
Poet, Heal Thyself, by Camille T. Dungy
When the Farmer Clutches the Rake: Writing the Real, by Cheryl Strayed
 
CONTRIBUTORS

 

Cover Art: "young yellow" (detail) by Jennifer Reeves