THIS ISSUE’S VERSE: Welcome to our newest issue, the existence of which we cannot apologize profusely enough for. With influences as diverse as Art Blakey and Anthony Michael Hall, Mr. Hal Sirowitz offers a regressive work, one which more than decisively counterpoints, as one might expect, the perspicacity and concupiscence of this extraordinary journal’s mise-en-scène, regarding the marriage industry. By studying sign processes, signification, and communication, Ms. Susan M. Sargis gifts us with a poem that allows one to view the world in context of a post-gender, socially mediated age and its arrival as one of the multitude of paradigms of Chiffon margarine commercials. Yet again, Mr. Stoney Emshwiller questions the conditions of appearance of an image in the context of contemporary visual culture in which images, representations, and ideas normally function regarding human sexual identity and an uncomfortable need for continued fame. Similarly, Ms. S.B. Klein‘s work illustrates a historic breakthrough technically and compositionally, as well as being loaded, much like any adjunct faculty meeting, with far too many sweet treats. What begins as triumph soon becomes corroded into a cacophony of hopelessness and futility when Ms. Amanda Pfeifer sheds light on a post-moral landscape that embodies the failed ethical sophistication of a Miss Jean Brodie. Mr. Matt Schulman sharply defines a stunning moment in literary tradition based strictly on a jaundiced cynicism, harkening back to a commentary on trends in modern self-absorption. And Ms. Creeley Piker, whose work explores the relationship between misogyny and misogyny, displays new variations generated from both constructed and deconstructed notion of immorality. Meanwhile, Ms. C.B. Auder writes with admirable clarity and concision on a subject of extreme complexity, understood only by advanced cultures not just undiscovered but as yet unborne. And, finally, Mr. Bing Qi Lin‘s poem attempts to assail the broadest and most metaphysically significant questions of human existence, allowing his work to become a mirror into which readers do not merely look, but become a part.
PROSE: In Glenna Sweeney‘s latest work, wavering phenomena become reconfigured through studious and academic practice, the viewer is left with a clue to the limits of our multiverse. This entry’s quote from Mark Doty.