LIT 37, Summer 2024
Poetry
The Falling by Michael Olson
Daisy Bell by Matt Schroeder
Hey by John A. Nieves
A sunset picnic by the river by Frank Graziano
Full Moon over Las Galeras by Frank Graziano
Trading Fours by Frank Graziano
Walking Through Old Lisbon by Lance Larsen
After the Renaissance by Stuart Sheppard
Jam by Samn Stockwell
Yard Sale by Ben Stoll
Third Shift by Elizabeth Pope
Folktale #333 by Jaye Nasir
Odysseus’s Apology to Anticlea by Anastasios Mihalopoulos
Now That I’m Older by Daniel Felsenthal
Fiction
Pocket God by T.J. Martinson
Among Rooms and Other Arrangements by Nathaniel Eddy
The Experience Thieves by Thomas Benz
Sand Wall by Laura Schadler
Nonfiction
Growing Up with a Low Rent Robin Williams by Simon A. Smith
Writing Off Your Ex by Jan Karlo Lopez
Baseball, Hotdogs, Apple Pie by Kevin Grauke
Jerusalem Ostraca by Isaac James Richards
Hybrid
When I reached the rough manner of this rain, the scrunched petals of these flowers, their fraying edges, I stopped and set down language by Cory Hutchinson-Reuss
The Green Man of Akron by Joseph Phelan
Historical Homes of Currituck County by Jessica Payne
The Elsewhere Oracle by Michele Battiste
Day at The Zoo by Daniel Webre
Riverside Boulevard by Kenton K. Yee
Home Church Gets Weird by Erin Allen
Discarded Sermon 9 by Benjamin Bellas
People Are Our Greatest Asset by Leanna Petronella
Art and Images in this Issue
On the Cover: “And Mustard” by KJ Hannah Greenberg
About KJ Hannah Greenberg:
KJ Hannah Greenberg tilts at social ills and encourages personal evolutions via poetry, prose, and visual art. Her images have appeared as interior art in many places, including Foliate Oak Literary Magazine, Les Femmes Folles, Mused, Piker Press, Stone Lake Gallery, The Academy of the Heart and Mind, and Yellow Mama and as cover art in many places, including Angime, Black Petals, Five on the Fifth, Impspired [sic], Pithead Chapel, Red Flag Poetry, Smoky Blue Literary and Arts Magazine, The Broken City, and Torah Tidbits. Additionally, some of her digital paintings accompany her poetry in Miscellaneous Parlor Tricks (Seashell Books, 2024, Forthcoming), Word Magpie (Audience Askew, 2024), Subrogation (Seashell Books, 2023), and One-Handed Pianist (Hekate Publishing, 2021).
“Grass Exhibit,” by KJ Hannah Greenberg, for The Green Man of Akron
“Ducks” by Jen Julian, for People Are Our Greatest Asset
“Lady Losing Her Blue Feathered Hat” by Elizabeth Pope for Third Shift
“Paper Dolls” by Erin Allen, for Home Church Gets Weird
“Lightbroker” by Jeylan Jones, for Writing Off Your Ex
“Runt” by Jeylan Jones, for When I reached the rough manner of this rain, the scrunched petals of these flowers, their fraying edges, I stopped and set down language
“Coffee” by Sarah Brockhaus, for Hey
“Deserted house” by Charles Henry Alston, 1935-43, for Historical Homes of Currituck County, curtesy of the MET Museum
“Still Life With Peaches” by August Renoir, 1881 for Three Poems by Frank Graziano, curtesy of the MET Museum
“In the Studio” Alfred Stevens, 1888 for Now That I’m Older, curtesy of the MET Museum
“River with a Distant Tower” by Camille Corot, 1865 for Yard Sale, curtesy of the MET Museum
All titles below curtesy of the Public Domain Review
“The eye, like a strange balloon, mounts toward Infinity,” by Odilon Redon (1882), for Riverside Boulevard
“On the horizon, the Angel of Certitude, and in the somber heaven a questioning eye” by Odilon Redon, 1882, for Pocket God
“Collage” by John Bingley Garland, ca. 1850–60, for Discarded Sermon 9
“Ginza” by Kawakami Sumio, 1929, for The Experience Thieves
“Chrysanthemums by a Stream” by follower of Ogata Korin, (late 1700s-early 1800s), for Among Rooms and Other Arrangements
“Woman in Front of the Setting Sun” by Caspar David Friedrich, 1817 for Sand Wall
Images for The Elsewhere Oracle
“Carter Lake” (ca 1880) by William Louis Sontag. Cooper Hewitt, Smithsonian Design Institute
“Head of a Child (Emmanual)” (1898) by Charles Angrand. Art Institute of Chicago.
“Decorative Study: Woman with Sunflowers” (1892/1898) by Aubrey Vincent Beardsley. Art Institute of Chicago.
“Almanac for 1789” (1789). Cooper Hewitt, Smithsonian Design Institute.
“Sheepyard, Moonlight” (1906) by Horatio Walker. Smithsonian American Art Museum.
“Red Sunset on the Dnieper” (Dnipro) (1905-8) by Arkhip Ivanovich Kuindzhi. The Metropolitan Museum of Art.
A note about summer from the editors:
Green energy. Our Suddenly Summer issue comes to you on the ferry, at the beach, or any green grass slice of heaven on earth you happen to find yourself in this summer. We are all about summer. Dive into the green goodness and roll in it, get dirty in it, get stuck in the rain, get covered in mud at the festival you went to where you didn’t think to bring your sleeping bag and had to share your friend’s sleeping bag that got wet in the rain. Forget about trying to control any of it, have a great time. Spend too much time watching clouds on your lunch break, read absolutely nothing at all on your phone and have your own perfect revelation. Lose time, listen to bugs, day dream. Zone out to the invisible symphony of life growing, crunching, churning, and twisting into shape all around us. Imagine the city as one big grassy field, and in the beautiful ruin of buildings taken over by grass, and trees, and vines, imagine nature as the greatest artist.
