This newest issue of Southern Humanities Review published quarterly by the Department of English at Auburn University features nonfiction by Monica Judge, Evan Joseph Massey; fiction by Scott Gloden, Kyle Francis Williams, Connor White, Ps Zhang; poetry by Lisa Ampleman, Caitlin Cowan, Esteban Ismael, Lh Lim, Lance Larsen, Fasasi Abdulrosheed Oladipupo, Emilia Phillips, Vasantha Sambamurti, Jace Raymond Smellie, Julia Thacker, and John Sibley Williams. Cover image: Cicada Summer, watercolor on paper, 2021, by Veronica Steiner. Some content can be read online and individual copies, as well as subscriptions, are available by visiting the Southern Humanities Review website.
In the latest issue: nonfiction by Philip Arnold and Sarah Gorham; fiction by Jerome Blanco, Michael Colbert, Evan Grillon, Eliamani Ismail, and Pardeep Toor; and poetry by Rebecca Cross, Chiyuma Elliott, Grego Emilio, Claire Hero, Sarah Nance, Carolina Harper New, Steven Pan, Jenny Qi, Roger Sedarat, Benjamin Voigt, and D.S. Waldman.
More info at the Southern Humanities Review website.
“Slouching like a velvet rope” by Elizabeth Aoki
“Dorothy Dandridge on White Men in Hollywood” by Maurya Kerr
“I Left the Church in Search of God” by Darius Simpson
Aoki will receive $1000 and travel to Auburn, Alabama to celebrate the seventh annual poetry prize where she will read her work at an event headlined by Jericho Brown. The Fall 2021 issue is sold out in print, but you can still check out the winning poem online.
In the current issue: nonfiction by Barbara Liles and JJ Peña; fiction by Barbara Barrow, Erin Comerford, Judith Dancoff, Erica Jasmin Dixon, and Lee Rozelle; and poetry by Elizabeth Aoki, Mary Leauna Christensen, Noah Davis, Armen Davoudian, Marlanda Dekine, Andrew Hemmert, Maurya Kerr, Cate Lycurgus, Athena Nassar, Khalisa Rae, Darius Simpson, and Ariana Francesca Thomas.
More info at the Southern Humanities Review website.
Sometimes after reading a story, I want to know more about it—what the inspiration was and what went into writing the piece. Southern Humanities Review quenches that thirst for answers in their “Features” section on their website, providing the occasional interview with a contributor of their print journal. Right now, readers can find an interview with Leslie Blanco, whose short story “A Sane Person Doesn’t Do Something Like That” is in Volume 54 Number 2 of Southern Humanities Review. The story “examines the strain in the marriage of Yvelis and Hector during the Cuban Revolution.”
Blanco and interviewer Caitlin Rae Taylor discuss the motivations behind the actions of the story’s characters, and the research that went into writing this piece. Here’s what she says about her attitude toward research:
The truth is, I love research. I love the melodrama of history and the magic of stepping mentally into another time, so I did a ton of research. Even as I type the answers to these questions, a vast “sensory” landscape covers one wall of my office, representing research for a novel set just after the revolution. It is a map of Havana with pushpins in all intersections of significant historical moments, surrounded by photos depicting the everyday people swept up in those events, complete with their glorious beehives or their iconic beards.
The interview finishes in a more general area. Taylor asks Blanco what she’s currently reading, what current projects she’s working on, and what advice she’d give to writers “who want to write fiction set against historically significant events,” making this interview an interesting read even for those who have yet to take in “A Sane Person Doesn’t Do Something Like That.”
The latest issue of Southern Humanities features poetry by Hala Alyan, Anne Barngrover, Jordan Escobar, Rhienna Renée Guedry, Sjohnna Mccray, Immanuel Mifsud, Anna Newman, Kimberly Ramos, Karen Rigby, Brett Shaw, Travis Tate, and Ruth Ward; fiction by Ser Álida, Leslie Blanco, Benjamin Murray, and Glen Pourciau; and nonfiction by Myronn Hardy and Ian Spangler. Find more info at the Southern Humanities Review website.
Nonfiction by Jade Hidle and Emily Waples; fiction by Remy Barnes, Christine Ma-Kellams, Raquel Olive, and Keija Parssinen; and poetry by John Blair, Asa Drake, Giles Goodland, Aiden Heung, Patrick Holian, Avery K. James, David Klose, and Rooja Mohassessy. Find more info at the Southern Humanities Review website.
Southern Humanities Review has nonfiction by Allison LaSorda and Alexandria Peary; fiction by Marlene Lee, Dennis McFadden, Sean Rose, and Gregory Wolos; and poetry by Ashia Ajani, Jubi Arriola-Headley, Ariana Benson, Nate Duke, Matt Donovan, Bethany Schultz Hurst, Rasaq Malik, Leslie Mcintosh, Mary Morris, Julia Thacker, Marisa Tirado, and Annie Woodford.
In this issue find nonfiction by Charlotte Taylor Fryar and A. Molotkov; fiction by Kim Bradley, Judith Dancoff, Janis Hubschman, Jeff McLaughlin, and Ann Russell; and poetry by Joseph Bathanti, James Ciano, Bryce Lillmars, Esther Lin, Derek Mong, Christina Olson, Lee Peterson, L. Renée, Kristin Robertson, Mara Adamitz Scrupe, Wesley Sexton, and Annie Wodford. Find more info at the Southern Humanities Review website.
In the Spring 2020 issue of Southern Humanities Review, Heather Corrigan Phillips dives into the use of language in “A Scattershot Approach.” Broken up into different sections, this piece looks at the idioms and metaphors relating to gunfire that English uses. Each section is a different phrase or word.
This nonfiction piece looks at a span of time immediately after the Sandy Hook Elementary School shooting. Her brother-in-law was a first responder at the school that day and we learn about him and the way his health and family were impacted. Phillips writes about this while living out of the country and learns more in spurts through Skype and phone calls, and readers subsequently learn about this in similar ways. Little bits of his story are revealed and then explorations of gun-adjacent language is placed in between.
Reading this really does bring to light the amount of idioms and metaphors that we use which relate back to guns, and this only scratches the surface. There are plenty more that weren’t included. We’re lead to question why this language is so prevalent while also seeing into the lives of humans who have gone through a traumatic event. Here is the perfect balance of fact and emotion, a quick yet powerful read.