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.

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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.

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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.”

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The Books

In a brief, yet indelible piece, Nancy Barnes explores the relationships seen and invisible that shift between people and their stuff. We are often defined by what we possess, but what becomes of our belongings when they breach the plain category of stuff and settle inside of us like heart and soul?

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Lindsey Walter
Through Our Dark Wood

Labeled as a “queer multimedia music zine”, this addition to Soundings showcases the interactions between the self, music, and expression. Ari Koontz takes us on a journey of identity and personality through the lens of a bespoke, rustic, album.

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Lindsey Walter
The Vibrant Violence of Ricardo Edwards

Ricardo Edwards is a Jamaican-born surrealist oil painter who deals in Black pride, beauty, and glamor. His works are steeped in Afro-Caribbean culture and aesthetic. But lurking beneath the bright tropical colors, an eerie sense crawls. Unhinged. Unflinching. and unyielding.

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Lindsey Walter
Sea Monsters are Trans, I Don't Make the Rules

by Zeyn Joukhadar

Long before we realize Luca and Alberto can't swim at the beach, we are half-shown the sleek length of the first creature, the sparkle of the lanterns on the scales as it arcs over the skiff. We claimed all the fish movies ages before the fisherman with his harpoon had time to stammer, What a monster! Horrifying! The gramophone sinks to the seafloor and becomes ours, along with every other treasure. Ariel, longing for legs, longing for her voice. Ursula glammed up in Divine's makeup. Protect the children, they screech, driving us to the cave with their tridents or scribbling over our outlines with (frankly bodacious) tentacles. The more the merrier when it comes to appendages.

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Jonathan Freeman-Coppadge
Michael Pogach: Slip

MICHAEL POGACH (he/him) is the author of the award-nominated Rafael Ward series: The Spider in the Laurel (2018 Kindle Book Award finalist), The Long Oblivion (2019 Kindle Book Award semi-finalist), The Tyrant Gods, and The Hidden Empire, as well as the chapbook Zero to Sixty. I (Abigail Michelini, Poetry Editor at ORP) had the privilege of speaking with Michael in September 2022 about his newest book, Slip. In the interview below, Michael shares with us his process of finding his way through the “swamp of writing” and the ways in which his characters both reflect his life and surprise him with their demands.

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Abby MicheliniComment