father

Todd Copeland reflects on the gift of memory, tools, and family.

The poet Donald Paris writes about his father.

“She could no longer hold her flesh together,” observes Tania Runyan in her description of a bronzed statue of a woman carrying “the heft of the commandments,” her mouth open in a silent, graven prayer.

In “Water Mission,” Jillena Rose offers a narrative of a childhood in Saigon, where she learned the prayer of “women in white silk laughing, letting water run over their fingers . . . another sound for praise.”

The idea of “deconstruction” has achieved a somewhat surprising ubiquity in our current culture. In addition to relatively long-standing applications in literary and cultural criticism, deconstruction has also found a home in political punditry and haute cuisine (what does it mean to “deconstruct” a meatloaf anyway?). But perhaps most enamored with the idea of deconstruction […]

This is a second poem by Elizabeth Hoover that uses the photography of Saul Leiter as a source for meditative dialogue on the nature of an image.

This poem by Elizabeth Hoover uses the photography of Saul Leiter as a source for a meditative dialogue on the nature of an image.

In this essay, a gravedigger’s daughter considers the meaning of mercy.

In this poem, Christopher Mulrooney offers an amusing contrast between belief and disbelief.