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

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