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Issue 18, Cualquiera | May 2016

     

Contributors’ Notes, No. 18

Barbara Jane Reyes is the author of To Love as Aswang. She was born in Manila, Philippines, raised in the San Francisco Bay Area, and is the author of three collections of poetry, Gravities of Center; Poeta en San Francisco, which received the James Laughlin Award of the Academy of American Poets; and Diwata, which received the Global Filipino Literary Award for Poetry. She is also the author of the chapbooks Easter Sunday,Cherry, and For the City that Nearly Broke Me. Visit her at www.barbarajanereyes.com.

Chip Livingston is the author of the story collection Naming Ceremony and the poetry collections Crow-Blue, Crow-Black and Museum of False Starts. His writing has appeared recently in Prairie Schooner, Ploughshares, Potomac Review and on the Poetry Foundation’s and Academy of American Poets’ websites. Chip is on the creative nonfiction faculty at the Low-Rez MFA program at Institute of American Indian Arts and on the poetry faculty at the Mile High MFA program at Regis University. He divides his time between Denver, Colorado, Santa Fe, New Mexico, and Montevideo, Uruguay. Visit www.chiplivingston.com.

Stella Reed has been published in magazines and anthologies nationally and in Australia, most recently in The Taos Journal of International Poetry & Art, Josephine Quarterly, and Slipstream. She is the Development Coordinator and a teacher for the WingSpan Poetry Project that brings weekly poetry classes to residents in shelters in Santa Fe and is a teaching artist for El Otro Lado at the Academy for the Love of Learning.

Elizabeth Jacobson is the author of a chapbook, A Brown Stone (Dancing Girl Press, 2015), and a poetry collection, Her Knees Pulled In (Tres Chicas Books, 2012). She is the founding director of the WingSpan Poetry Project, which conducts weekly poetry classes for residents at homeless and battered family shelters in Santa Fe, New Mexico, and Miami, Florida. Some of her honors include the Mountain West Writers’ Award from Western Humanities Review, the Jim Sagel Prize for poetry from Puerto del Sol, and a grant from New Mexico Literary Arts. Recent and forthcoming publications include The Laurel Review, Western Humanities Review, About Place Journal, Ghost Fishing: An Ecojustice Poetry Anthology, Orion, and Plume. Elizabeth will be teaching at the Santa Fe Community College and at Ghost Ranch’s fall writing festival in 2016. She has an MFA from Columbia University.

Jamie Cattanach is a happy grad school dropout based in Tampa Bay, Florida, where she writes full time for a major web publication. Her poetry has also been featured in DMQ Review, Sweet: A Literary Confection and elsewhere.

Lauren Camp is the author of three books, most recently One Hundred Hungers (Tupelo Press, 2016), which won the Dorset Prize. Her poems appear in New England Review, Poetry International, Slice, The Seattle Review, World Literature Today, Beloit Poetry Journal and elsewhere. Other literary honors include the Margaret Randall Poetry Prize, an Anna Davidson Rosenberg Award, and a Black Earth Institute Fellowship. She is the producer and host of Santa Fe Public Radio’s “Audio Saucepan,” which entwines music with contemporary poetry. Read more at her website.

Paige Buffington is Navajo, a member of the Naashaashi Clan (Bear Enemies). She received a BFA in creative writing from the Institute of American Indian Arts in Santa Fe, New Mexico, and, in 2015, an MFA in creative writing.

Sally Ashton is the author of Some Odd Afternoon ( BlazeVOX), Her Name Is Juanita (Kore Press), and These Metallic Days (Mainstreet Rag). She is Editor-in-Chief of DMQ Review, an online journal featuring poetry and art. Shorts of all sorts have appeared or are forthcoming in Los Angeles Review of Books, Brevity, Zyzzyva, Drunken Boat, Poet Lore, and Fish Anthology: First Prize Fish Flash Fiction. She teaches at San José State University

Regan Good is the author of The Atlantic House published in 2011 by Harry Tankoos Books. She lives in NYC and currently teaches poetry writing at Barnard College and the Fashion Institute of Technology. Poems from her manuscripts “The Needle” and “The Withy” have recently been published in The Literary Review, Boston Review, Fence, Hinchas de Poesía and Ladowich Magazine.

Casandra Lopez is a Chicana, Cahuilla, Luiseno and Tongva writer raised in Southern California who currently lives in Seattle. She has an MFA from the University of New Mexico and has been selected for residencies with the Santa Fe Art Institute, School of Advanced Research and Hedgebrook. Her poetry chapbook, Where Bullet Breaks was published by the Sequoyah National Research Center; she was recently selected as a literary artist for the King County Social Justice Project. She is a CantoMundo Fellow and a founding editor of As/Us: A Space For Women Of The World.

Tomás Q. Morín is the author of the poetry collection A Larger Country, and translator of Pablo Neruda’s The Heights of Macchu Picchu. He is co-editor with Mari L’Esperance of Coming Close: Forty Essays on Philip Levine. He teaches at Texas State University and in the low residency MFA program of Vermont College of Fine Arts.

Anya Achtenberg is an award-winning fiction writer and poet whose publications include the novel Blue Earth; a novella, The Stories of Devil-Girl, and poetry: The Stone of Language, and, I Know What the Small Girl Knew. She is at work on another novel, “History Artist”; a book of poetry and short prose, “Matadors at the Crossing”; articles on the craft and issues of creative writing; and nonfiction pieces on Cuba. Anya teaches creative writing workshops around the U.S. and online around the world; and consults with writers individually. Director of Arts Focus on Cuba, she organizes arts and culture journeys to Cuba. For information on her workshops, publications, articles about the craft of writing, and Cuba journeys, see http://anyaachtenberg.com/ or write aachtenberg@gmail.com

Hugo Dos Santos is a Luso-American writer, translator, and journalist. He earned an MA with concentrations in both Reading and Writing from Rutgers-Newark, and was a recipient of the Disquiet International Scholarship. His fiction has appeared in various publications in the U.S. and Europe, including Queen Mob’s Tea House, Brittle Star, mOthertongue, Revista 365, and elsewhere. He is the author of ironbound – a blog and is currently working on his first novel, “Brick City.”

Oona Patrick earned an MFA from Bennington and her writing has appeared in Gulf Coast, Guernica, Post Road, Provincetown Arts, The Puritan, Salamander, and elsewhere. Her work has received Notable Essay mentions in Best American Essays and Best American Travel Writing and she is a 2014 Fellow in Nonfiction Literature from the New York Foundation for the Arts. She has worked on the Dzanc Books Disquiet International Literary Program in Lisbon, Portugal for the last five summers.

Richard Simas is a free–lance writer with a background in literature, music, and the performing arts. He contributes regularly to contemporary art and literary reviews in Europe and in North America, including the Journey Prize Anthology and the Fiddlehead Fiction Prize. His short fiction is included in the recent Memória, an anthology of Portuguese-Canadian writers and he contributes regularly to Toronto’s Musicworks magazine. Other publications include Edmonton’s Avenue Magazine, Canadian Theatre Review, Montreal’s Vie des Arts, Jeu, Jewish Times (New York), Gavea-Brown, and elsewhere.

Yago S. Cura is an Adult Services Librarian at the Vernon branch of the Los Angeles Public Library in sunny South Central Los Angeles. He is a former N.Y.C. Teaching Fellow and A.L.A. Spectrum Scholar who also happens to publish the poetry, fiction, and prose of authors from las Américas in Hinchas de Poesía with Jim Heavily and Jennifer Therieau. Along with Ryan Nance, he is the co-founder of the Copa Poetica (http://copapoetica.us), a three day reading series in Los Angeles on the rest days of the 2014 World Cup. His Spanglish blog, Spicaresque (http://spicaresque.blogspot.com), has had more than 58,000 visitors.

Elisa Keir was born in Alaska for 13-cents-a-pound, born of a lineage that included historians, doll makers and model railroad aficionados, and ended up nesting herself in rural New Mexico in the year 2000. Inquisitiveness led her through the corridors and cross-pollination of film, book arts, sculpture, photography, collage, ecology and nature studies. Elisa has exhibited in Europe, South and North America and spends her hidden hours taking field notes and collecting artifacts in the BioNetwork(an ongoing multidimensional nature study and art project), then re-animating them in this dimension for scrutiny – part of a plan for unleashing the surreal and poly-magical powers, we’ll need for foresight in this sordid world as a way to evolve toward a more luminescent tomorrow. Visit her website at www.elisakeir.com.

Kathleen McCloud writes: My art projects investigate and expand upon the mythology that attaches to people and places over time, bringing the past into a contemporary context. “Border Crossing” is from a series of new paintings that probe what it means to be ‘the other.’ All over the world, people are migrating, fleeing, walking into the unknown. A climate of fear and suspicion is palpable as nations and institutions crumble and tribalism emerges. The series is built upon the wildness of this time, and has elements of traditional fairy tales in the characters that appear in the work. It is also informed by my home in northern New Mexico, where the high desert landscape is animate with those who lived here before. See more at her website.

Dr. Ernest Williamson III has published creative work in over 600 journals. Professor Williamson has published poetry in over 200 journals, including The Oklahoma Review, The Roanoke Review, Pamplemousse (formerly known as The Gihon River Review), The Copperfield Review, and Lost Coast Review. Some of his visual artwork has appeared in journals such as Columbia: A Journal of Literature and Art, The William & Mary Review, New England Review; and The Tulane Review. Currently, he is an Assistant Professor of English at Allen University.

Guillermo Filice Castro is a poet and photographer. He’s the author of Agua, Fuego (Finishing Line Press, 2015) and a recipient of a 2013 Emerge, Surface, Be fellowship from the Poetry Project. His poems appear in Assaracus, Barrow St, Brooklyn Rail, Court Green, The Good Men Project, Hinchas de Poesía, Newverse News and many more; as well as the anthologies Rabbit Ears, Flicker & Spark, Divining Divas, and others. His images have been featured in Canopic Jar and Sunday Salon Zine. A native of Argentina, Castro is a long-time resident of New York City.

Abid Husain, a contemporary realist painter who focuses his work on the figure and portrait, trained at Studio Escalier and the Ryder Studio in a classical figurative tradition. He currently lives in Denver, where the bulk of his time is spent painting in the studio, primarily with oil. When not in the studio, his fascination, appreciation and understanding of the human form is reflected in his medical degree as a practicing cardiologist; his physical fitness, through various disciplines including martial arts, gymnastics and weight training; and his study of the human psyche, represented by an extensive reading in Jungian psychology.

Fabrice Poussin teaches French and English. Author of novels and poetry, his work has appeared in Kestrel, Symposium, Eskimo Pie, The Chimes and will appear in other magazines throughout 2016. His photography has been published in The Front Porch Review, Foliate Oak Magazine, the San Pedro River and more than three dozen other publications.

Michael Bergt has worked primarily in egg tempera for over thirty years. In 1997, he co-founded The Society of Tempera Painters (www.eggtempera.com) and served as the organization’s president for twelve years. Working primarily with the human figure, Michael’s paintings refer to a range of interests, including classical myths, sensuality, the human condition, and topical events. He is represented by Nuart Gallery in Santa Fe. Visit his website: www.mbergt.com.

Edie Tsong’s projects in visual arts, performance, writing, and social practice explore identity as a practice of intimacy. What connects us literally and metaphorically? How do we connect as individuals and as a communities? Tsong lives and works in Santa Fe, NM with her daughter. edietsong.com, snowpoemsproject.org

Eliza Evans, an artist and printmaker, lives in the woods 28 miles from Grand Central Terminal.

Graphic artist and painter Allen Forrest was born in Canada and bred in the U.S. He has created cover art and illustrations for literary publications and books. He is the winner of the Leslie Jacoby Honor for Art at San Jose State University’s Reed Magazine and his Bel Red painting series is part of the Bellevue College Foundation’s permanent art collection. Forrest’s expressive drawing and painting style is a mix of avant-garde expressionism and post-Impressionist elements reminiscent of van Gogh, creating emotion on canvas.

Anne Stavely is a portrait photographer whose distinct dynamic style explodes in vibrant color or classic black and white. Based in Santa Fe, New Mexico, Staveley has established a business based on personal connection, vision and passion, and a crack sense of humor. A graduate of the Rhode Island School of Design, Staveley sees herself as a storyteller with a camera, looking for that one telling image—a wrinkled brow, tear starting to form, open-mouthed laugh—that needs to be captured in time and place forever. Simply put, Staveley dreams in photos. She’s ready to grab her camera and create a portrait for you that captures much more than just surface.

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The works contained herein are the intellectual property of the individual writers and artists, subject to the protections afforded by Title 17 of U.S. Copyright Law and represent a derivative work–an original work constructed from editorial revisions. However, the individual writers and artists of the works in this issue retain copyright.

If you would like to use substantive portions of this issue, you must obtain written consent from the author(s) or artist(s). Hinchas supports open-access initiatives and rejects the incarceration of information by proprietary databases.

Contributors’ Notes, No. 18