Contributors to Issue 5
David Appelbaum has worked in the university and in publishing and is an author who specializes in the work of writing. His most recent books include notes on water: an aqueous phenomenology (Monkfish, 2018).
Martine Bellen is the author of nine collections of poetry, including her most recent book This Amazing Cage of Light: New and Selected Poems (Spuyten Duyvil), The Vulnerability of Order (Copper Canyon Press), and Tales of Murasaki and Other Poems (Sun & Moon Press), which won the National Poetry Series Award. She has written the libretto for OVIDIANA, an opera based on Ovid’s Metamorphoses (composer, Matthew Greenbaum), has collaborated with David Rosenboom on AH! OPERA NO-OPERA, and co-wrote the libretto for Moon in the Mirror (text: Bellen and Zhang Er; composer: Stephen Dembski), which was performed in New York, Los Angeles, and Cleveland.
Robert Beveridge makes noise (xterminal.bandcamp.com) and writes poetry in Akron, OH. Recent/upcoming appearances include work in The Virginia Normal, Credo Espoir, Chiron Review, and elsewhere.
Ksenija Bilbija is a professor of Spanish American Literatures at the University of Wisconsin-Madison specializing in cultural studies, gender criticism, post-traumatic memory and cartonera publishing. She is the author of Cuerpos Textuales: Metáforas de la génesis narrativa en la literatura latinoamericana del siglo XX (Latinoamericana Editores, 2001) as well as Yo soy trampa: Ensayos sobre la obra de Luisa Valenzuela, (Buenos Aires: Feminaria, 2003). She co-edited The Art of Truth-Telling About Authoritarian Rule (Madison: University of Wisconsin Press, 2005) and Accounting for Violence: Marketing Memory in Latin America with Leigh Payne, (Duke UP in 2011) as well as published translations of work by María Luisa Bombal, Luisa Valenzuela, Mario Benedetti, and Clarice Lispector into her native Serbo-Croatian. From 2001-2006 she was the Editor of Letras Femeninas: Revista de Literatura Femenina Hispánica. She co-edited Academia Cartonera: A Primer of Latin American Cartonera Publishers (with Paloma Celis Carbajal, Parallel Press, University of Wisconsin-Madison Libraries, 2009), a bilingual collection of manifestoes accompanied by a CD with academic articles on cartonero publishing phenomenon. In 2014 she co-edited with Marguerite Feitlowitz a special issue of the journal Review: Literatures and Arts of the Americas titled “Beyond Violence: Towards Justice in Latin American Writing and Arts.” In 2017, she co-edited with Ana Forcinito and Bernardita Llanos the volume Poner el cuerpo: rescatar y visibilizar las macros sexual y de genera de los archives dictatorialness del Cono Sur, published by Cuarto Propio en Santiago de Chile. From 2007-2012 she was a Director of Latin American Caribbean and Iberian Studies Program. Edric Mesmer works as a cataloging librarian for the Poetry Collection of the University at Buffalo, where he edits Among the Neighbors, a pamphlet series providing a space for the discussion of little magazines publishing after 1940. To date, the series has included issues on such little magazines as blewointment, TISH, Skanky Possum, El Corno Emplumado/The Plumed Horn, and O.ARS, and histories of small press publishers John Bennett and Kris Hemensley, as well as Michael Leong’s guide to teaching the little magazine. Ksenija Bilbija’s Cultural Shape-Shifters: Cartonera Publishing is #9 in the series. Edric is also the author of the book of poems of monodies & homophony (Outriders Poetry Project, 2015) and several chapbooks—most recently Fawning (Portable Press @ Yo-Yo Labs, 2018).
Simon Lowe is a British writer. His stories have appeared in Storgy, Firewords, Visible Ink, Chaleur magazine, Ponder Review, and elsewhere.
JoAnne McFarland is the Artistic Director of Artpoetica Project Space in Gowanus, Brooklyn, that explores the intersection of words, visual art, performance, and installation. She is the former Exhibitions Director of A.I.R. Gallery. Her numerous solo and group exhibitions include: Views From a Puddle (MHProject NYC, with artist Margaret Cogswell), Mending (440 Gallery, Brooklyn, NY, with artist Nancy Lunsford), Both Directions at Once (KALA Art Institute, Berkeley, CA), and The Black Artist as Activist (Corridor Gallery, Brooklyn). McFarland’s artwork is part of the public collections of the Library of Congress, the Columbus Museum of Art, and Dynegy Inc., among others. Her poetry books include Said I Meant/Meant I Said (a collaboration with poet Paul Eprile), Identifying the Body, and 13 Ways of Looking at a Black Girl. In her work, McFarland treats violence and creativity as diametrically opposed: each act of making thwarts violence’s aim to destroy.
Ben Miller is the author of River Bend Chronicle: The Junkification of a Boyhood Idyll amid the Curious Glory of Urban Iowa (Lookout Books). His prose has been featured in Best American Essays, One Story, Southern Review, AGNI, Raritan, Yale Review, Kenyon Review, Antioch Review, and elsewhere. Chapter 12 of it all melts down to this: a novel in timelines will appear in Best American Experimental Writing 2020. He is the recipient of creative writing fellowships from the National Endowment for the Arts and the Radcliffe Institute for Advanced Study at Harvard University.
Cameron Morse was diagnosed with a glioblastoma in 2014. With a 14.6-month life expectancy, he entered the Creative Writing Program at the University of Missouri, Kansas City, and received his MFA in 2018. His poems have been published in numerous magazines, including New Letters, Bridge Eight, Portland Review, and South Dakota Review. His first poetry collection, Fall Risk, won Glass Lyre Press’s 2018 Best Book Award. His latest is Terminal Destination (Spartan Press, 2019). He lives with his wife Lili and son Theodore in Blue Springs, Missouri, where he serves as poetry editor for Harbor Review.
Bertha Rogers is a poet, translator, and visual artist who lives on a mountain in the western Catskills of New York. Her poems have been published in literary magazines and anthologies and in several collections, among them Wild, Again (Salmon Poetry, 2019), Heart Turned Back (Salmon Poetry, 2010), and Sleeper, You Wake (Mellen, 1991). Her translation and illuminations of the 95 riddle-poems in the Anglo-Saxon Exeter book were published as Uncommon Creatures (Six Swans Artist Editions, 2019).
Silvia Sanza was born in the Bronx, lives in Manhattan, writes fiction, and loves taking photos of graffiti. She has had two novels published by Serpents Tail, London: Alex Wants to Call It Love and Twice Real. A third novel, Negative Space, is available as an e-book on Amazon Kindle and can be found at http://www.amazon.com/dp/B00AKYW0TA. A fourth, The Off Ramp, is looking for an agent.
Peter Schneider is a poet and psychotherapist who lives in Brooklyn, NY, and Rochester, VT. His poems have appeared in AMP, The Buddhist Poetry Review, Mobius: The Journal of Social Change, The Shot-glass Journal, Kairos, Better Than Starbucks, and in the broadside collection A Midnight Snack. His debut collection, The Map is Not the Territory, was published by Anaphora Literary Press in 2018. His MFA is from Columbia University and his PhD is in clinical psychology from New York University. Linda Schneider paints landscapes in oils in Vermont and New York City. She studied painting at the Art Students League and the School of Visual Arts in New York. Her paintings can be seen at Lightontheland.tumblr.com and at the North Common Gallery in Chelsea, VT, and at various other venues in Vermont and New York.
Brazilian author Beatriz Seelaender has had essays published by websites such as The Collapsar and The Manifest-Station, and her short stories can be found in Psychopomp, The Gateway Review, and others. Her story, “A Kidney Caught in Quicksand,” published by Grub Street in 2017, earned recognition from the Columbia Scholastic Press Association in the categories of experimental fiction and humor writing. In 2019, Seelaender won Hidden River Arts’ Sandy Run Novella Award. You can check out her weekly column at Maudlin House (dot net).
John Surowiecki has written seven chapbooks and five collections of poetry, the most recent of which, Martha Playing Wiffle Ball in Her Wedding Gown and Other Poems (Encircle), was a finalist for the 2017 Connecticut Book Award. That same year his Pie Man won the Nilson Prize for a First Novel.
Aaron White lives and works in Terre Haute, Indiana. He holds an MA in Literary Studies from Eastern Illinois University and contributes to Bluestem Magazine as an assistant nonfiction editor. His writing has appeared in The Anatomy of Desire: An Anthology of Distance, Months to Years, The Smart Set, Brain Child Magazine, Motherly, and other publications. He spends his days raising a daughter, navigating academia, trying to sell a novel, and wallowing in obscurity. Connect with him on Twitter @amwhite90 and Tumblr at amwhite90.tumblr.com.