New Poem: “My Unbelievable Man” in The Laurel Review 50.2

Cover of The Laurel Review 50.2

Look at that beautiful cover!

My poem “My Unbelievable Man” was published in the latest issue of The Laurel Review and it’s my first poem in print! I received my contributor copies in the mail this week. The experience of reading one of my poems in a physical paper journal is surprisingly different than reading it in a digital document or online. I’m not really sure how to describe it except that the journal has heft that makes the poem feel more real and very special.

I wrote the poem last July, revised it a few times, and submitted it to potential journals last August.  Before I had heard back from all of them, I revised the poem yet again, something I really don’t recommend. I thought that the new version was better, but when The Laurel Review accepted it, I was reluctant to ask if they would consider a new version instead. It’s a good thing I didn’t ask; comparing the two versions now, I like the earlier and now published version a lot better.


New Story: “The Center of Dirty” in Cold Creek Review #5

Screen shot of Cold Creek Review website with title of publication and an wintery creek and forest scene on 28 March 2018
This is the big day: my first published fiction, a sad story titled “The Center of Dirty,” is now available in the fifth issue of the wonderful online journal Cold Creek Review! I really loved this journal “that explores the depths of troubled emotion” when I first came across it and I hoped that someday I would have a story worthy of submitting to them. That story is “The Center of Dirty.”
I wrote the first draft in May 2016 in The Writers Studio Tucson workshop with Lela Scott MacNeil and received really helpful feedback from her and the other students. I’m so thankful and if you are in Tucson (or New York City or the other cities that have branches), I and many other published writers coming out of The Writers Studio can assure you that these workshops and the exercises we work on can lead to great things.
It’s probably best not to unpack in detail the genesis of a story or poem, but I will say that “The Center of Dirty” is a story that allowed me to grapple with some unfortunate truths about my family history. This story greatly fictionalizes an upsetting revelation. I’m not sure if therapy is the right word for this process, but now the story is out there and I’m a little easier on the inside.
Rest in peace, Nick.

New Poem: “Nervous Bambi” in Impossible Archetype #3

Cover of Issue 3 of Impossible Archetype, a Journal of LGBTQ+ Poetry, edited by Mark Ward

My latest poem was published today in Impossible Archetype issue 3, a free PDF download. I’m so happy to be included. Impossible Archetype, edited by Mark Ward, is one of my absolute favorite publications and has developed nicely over these three issues. The other poems in this issue are incredible.

I wrote the first draft of “Nervous Bambi” in October 2014. Earlier this year, I changed the point-of-view persona narrator, and that made all the difference. It was a difficult poem to write, for obvious reasons, and especially because the persona narrator is a tough person for me to relate to, but the experience of writing from his point of view made me a little more sympathetic to him.

I expect another poem to be published soon and my first published piece of fiction is only a week or two away! I cannot wait to share these with readers.


Review: Simon vs. the Homo Sapiens Agenda

Simon vs. the Homo Sapiens AgendaSimon vs. the Homo Sapiens Agenda by Becky Albertalli

My rating: 4 of 5 stars

Simon and the other characters are the highlight of Simon vs the Homo sapiens Agenda by Becky Albertalli, about a high school student on the verge of coming out as gay dealing with doubt, first love, and blackmail. He and his group of friends are the heart of the story and I particularly love Simon’s voice in this first-person narration. He’s funny and astute, but also heart-breaking at times: “And every freaking time, I have to reintroduce myself to the universe all over again.”

One of the craft techniques Albertalli uses to keep the story moving at a swift pace is to jump into each chapter in the middle of the action. The book rapidly moves through the months of Simon’s junior year. Some of the chapters jump into the middle of email exchanges between Simon and “Blue,” another closeted gay student at the same high school, after they discover each other on an anonymous online school gossip site. Their friendship and attraction grows even as Simon grows increasingly frustrated with Blue’s fears about revealing their real identities to each other.

I couldn’t always suspend my disbelief in the book, especially when truths are revealed and characters react. These moments often seemed too easy or strangely motivated, though I understand this is the complexity of coming out the book is trying to explore. I was emotionally engaged especially as the emotions ramp up in the second half of the book. Every coming out is different, and the book does a good job of describing the emotional complexity of coming out to friends and family even when they are accepting and loving.

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Review: The World to Come: Stories by Jim Shepard

The World to Come: StoriesThe World to Come: Stories by Jim Shepard

My rating: 5 of 5 stars

Every single story in this collection of historical fiction and contemporary fiction pieces is breathtaking, full of incredible and often all-too-real details, and features characters (whether based on real people or not) that leap off the page. I particularly appreciate how writer Jim Shepard finds the humanity and depth in characters that are otherwise difficult to like.

The title story is a gorgeous examination of a forbidden love that simply cannot survive in its era. It’s a great story, but one that is a little hard for me to take after the transcendence of Call Me By Your Name and that book (and movie’s) powerful rejection of the old tropes in LGBT fiction. Yet this book is very much about catastrophe, so “The World to Come” fits in well. I frequently found myself looking up information about the events Shepard writes about in his stories that sound so unbelievable but really did take place. The three stories set in modern times are perfectly placed breathers from history no less lacking in concrete details and relevant facts.

I was not looking forward to reading this book at first because I thought I didn’t enjoy history, but The World to Come: Stories has convinced me that historical fiction is a powerful and necessary lens through which to see our shared humanity, and perhaps learn how we can avoid such catastrophes in the future. This collection is a revelation.

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Review: Third Class Superhero by Charles Yu

Third Class SuperheroThird Class Superhero by Charles Yu

My rating: 5 of 5 stars

Short, genre-defying stories that look at people and things—mothers, relationships, language, infidelity, etc.—in unexpected ways. A prospective superhero has to make a choice between hero and villain, and neither are especially promising. In the land of Marketing and Platitudes, a couple have to keep deciding “What now?” A man discovers himself, and himself doesn’t discover a man. The mathematical precision of Janice’s “maybe”, a curious mother discovering the limits of language and storytelling, and an alien Florence swimming in circles while time and space march on in escalating cosmicomics of the boring and mundane and lonely.

Third Class Superhero is a quick read full of surprising gimmicks and unexpected revelations, precise details and laments about how language and other disciplines aren’t really all that precise in any particularly useful way, and characters that feel a little too close to home, even if home is a place you can’t quite return to ever again.

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Review: Moby-Dick by Herman Melville

Moby-DickMoby-Dick by Herman Melville

My rating: 5 of 5 stars

An incredible if interminable reading experience made nauseating by deplorable racist interjections (sometimes an excruciating chapter long) and gory slaughter. This was not a pleasant read; I had to take frequent breaks from what was so upsetting about the novel and Melville’s comments about other races, especially black people, and other cultures. Melville may be a product of his time and his novel a reflection of those times, but that doesn’t mean the book’s not entirely odious and offensive in my time.

Yet I still want to give the book 5 stars. 5 stars for the writing (I highlighted so many images, phrases, and sentences), the various forms the 136 chapters took, the humor, the philosophical musings, the encyclopedic overview of whales and whaling (yes, I actually enjoyed learning more than I really ever care to learn about topics I have no reason for knowing anything about.) 5 stars because of the variegated terrain of emotions I experienced while reading this book. 5 stars for those incredible final chapters. 5 stars because Star Trek II: The Wrath of Khan is entirely new to me again. 5 stars because references and allusions elsewhere are going to make a lot more sense to me now.

And 5 stars to me for finishing the damn thing.

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Review: Shekhinah by Eleanor Wilner

ShekhinahShekhinah by Eleanor Wilner

My rating: 5 of 5 stars

I started reading Eleanor Wilner’s second collection of poems from 1984 before she read at the University of Arizona Poetry Center in January 2018. I knew I was going to love her work after I read the first poem, “Emigration,” about Charlotte Brontë and her friend Mary Taylor: “There are always, in each of us, / these two: the one who stays, / the one who goes away”. It’s not that I know much if anything about Brontë or Taylor beyond what I found in Wikipedia; it’s that Wilner draws them so vividly and profoundly on the page that I’m inspired to find out more about them.

I find Wilner’s style to be very straightforward and clear (as is her reading style) and her poems full of beautiful sensory detail and movement, featuring persona narrators who are typically distant and generally focus almost all their attention on the subject and themes of the poem. I’ve read that Wilner generally prefers to avoid autobiography, confession, and self in her work, focusing instead on a cultural memory and perception of subjects and themes. This is exciting to me because I’m tired of the autobiographical and personal in my own writing and I’m eager to explore subjects and themes in a different manner.

After I first started reading poetry seriously a few years ago, it took a really long time for me to see the imagery in my mind (a problem I don’t at all have with prose and fiction.) Even then, these mind tableaus were static. Starting with Wilner’s work, I’m finally seeing poetry cinematic and in motion in my mind. In “Labyrinth,” the Minotaur and its lair are vividly constructed:

“[…] The walls have narrowed
to a channel, damp to the hands
that grope your way; the rank air
hangs against the stone, as if
the stone had hooks and held it.”


“The floor that opens out around you
is spread with straw, in places worn almost
to dust that rises from the ground
where something stamps and stumbles
in its place;”

Where movement kicks in in the following stanzas and the second-person persona narrator leads the Minotaur out of the labyrinth and into the sun, the cinematic quality of these lines gave me chills!

I’m eager to read more of Wilner’s work. The poems she read during her reading were much newer than these, and reflected how her already fantastic poetry has matured and compressed over time without losing that incredible vividness and movement. A poet’s ability to shine a light on an object, person, scene, and theme with preciseness and clarity of detail turns out to be one of the first things I look for in their poetry. In this way, Wilner’s poetry evokes in me the same appreciation and wonder I have for the great Wisława Szymborska’s poetry.

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Recommended: “Leave” By Katie Predick

Adelaide Literary Magazine magazine cover, Year III, Number 10, November 2017

Adelaide Literary Magazine magazine cover, Year III, Number 10, November 2017

There aren’t many poets in the workshops I take at the Writers Studio Tucson, sometimes only two or three of us in a class of ten writers. I’ve been fortunate, however, to have been in several workshops with Katie Predick, a poet I regard highly. Her poetry is rich with images and surprises as she explores myth and nature and themes of woman- and parenthood, relationships, science, and human impact on the environment (she’s also an accomplished scientist.) I learn a great deal from her and her poems, and she has always provided me with kind, helpful, and insightful feedback about my own work. And that’s why I’m so excited to see her poetry published so I can share it with others!

Katie’s poems “The Physics of Loss” and “Leave” were recently published in Adelaide Literary Magazine. These poems are as always with her work full of image, emotion, and keen observation. I love how in “The Physics of Loss” really gigantic ideas about the physics of time are prompted by and further prompt nostalgia about the persona narrator’s child. I find that Katie’s poems often end with a further, deeply felt observation that lingers in the reader’s mind. “Leave” accumulates various meanings of “leave” and “leaves” while a more personal and heartbreaking story is glimpsed, and it ends with a remarkable and poignant observation about the word. Truly outstanding poetry.

Recommended: “How We Cured Racism” by Philip Ivory

Screenshot of Rosette Maleficarum website header

Screenshot of Rosette Maleficarum website header

Philip Ivory, one of my instructors and a fellow writer at the Writers Studio Tucson, has a new short story titled “How We Cured Racism” published online at Rosette Maleficarum. I read a couple of the earlier drafts of this story; the final published version is a polished work of chilling alternative history. This is a story that will get under your skin, no pun intended. Phil also wrote in a post on his blog about the day he found out the story had been both accepted and published.