May/Summer 2015 
An Interview with Nick Flynn
Sarah Anne Johnson
...for me, I normally need to find an instinctual way into a poem, or a book, and follow that instinct as long as I can, before I become intentional, if that means trying to steer.
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When Words Work Together
Kelsy Yates
...in order to better understand how a story can be complexly layered, I experiment with an exercise called "breaking down language," in which I will examine and discuss the stylistic choices and selection processes...
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An Interview with Judith Kitchen
Janée J. Baugher
I always have allegiance to truth, or fact. I believe that the writer of nonfiction should be held to a standard that includes the "non" in nonfiction.
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Man of Care: Seamus Heaney’s Primal Reach into the Physical
Thomas Sleigh
Seamus struggled as much as anyone "to strike it rich behind the linear black," and in the thirty years I knew him, he had long dry spells, when either the springs had subsided underground, or he couldn’t find his way to them.
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Conceiving Oneself: Poems of Beginning
Nance Van Winckel
Initially this subject seemed to me the ultimate in "navel gazing." But I found that many of these poems managed to avoid falling into this category—and how, I wondered?
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Secret and Lies: Strategies for Creating Momentum in Alice Munro's Fiction, with a Close-up on "Runway"
Sharon Solwitz
...Munro's work can't be skimmed. Her stories have plots—events that deeply affect the characters—but if you try to jump from event to event, action to action, you miss the real events, which abide in the protagonist's mind.
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The Grail of Origin: Translation and Originality
Kurt Heinzelman
Ever since the idea of "originality" in poetic composition underwent a sea-change in the middle of the 18th century, the way in which we evaluate translation has borne the burden of that change, with confusing results.
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