Proof Intangible (Interview with Nancy Kay Turner)

Toti O'Brien

With my artwork (though it often incorporates text), I access areas where language doesn’t exist. Only action, reaction, flow, and observation do. When I am “in a zone,” I am not thinking consciously. If my mind intervenes and language enters the equation, I find the resulting work stale or ordinary, while my quest is to make the ordinary extraordinary.

Read More
Jonathan Freeman-Coppadge
Heather Swan's DANDELION (Poetry Review)

Carole Mertz

The opening poem in Swan’s Dandelion lets us join a person (we assume it is the author) in a canoe with a friend. The two lament the death of the friend’s son. Geese are flying so low their bodies are mirrored in the lake. One senses the violence of the movement as one also experiences the cutting expanse of grief that seems to spread across the lake. The poem forecasts a sober collection, despite the book’s bucolic title.

Read More
Jonathan Freeman-Coppadge
Jay Baron Nicorvo's "Best Copy Available: A True Crime Memoir" (Review)

Carolyn Wilson-Scott

Throughout the book, Nicorvo offers multiple takes on the title’s meaning: It is, most literally, what is stamped on the copy he receives of the crime report of his mother’s rape. But it is also a way to talk about the nature of memoir-writing, how one has no choice but to accept that “a story, any story, even a true story, can only ever be a copy.”

Read More