The prose of SFLR tends to be edgier than its poetry, with more profanity, more sex, and more rough-and-tumble imagery. There is a kind of easiness to the writing in this issue, by which I mean natural, not unformed. Non’s Chapel.” These poems, like most of the work in the issue, reflect a preference for writing that is uncluttered, easily comprehended (though not glib), and fluid. Place is of consequence in a number of other works in the issue, as well, including a poem by Dallas Huth, “North is at the Top of the Map,” another by Amorak Huey, “San Antonio,” and another by Joan Mitchell, “At the Ruins of St. Man, spiral, deer, tree, snake, little bird – Smith, who is also interviewed in this issue, “Late Autumn Poem, Winter Coming.”Īge-old ruts led me to this ledge to sit. Inspired by the region, too, are a short story from Bibi Deitz (“3 rd Person, March”), a poem by Kathryne Lim (“Over the Taos Gorge”), and a poem by Michael G. I find the issue’s artwork (photographs, paintings, a graphic story, illustrations), much of which has a decidedly Southwestern feel, especially appealing. Friday’s “El Santuario de Chimayo,” at the center of the issue, a beautiful rustic stone church set against shadows that seem almost surreal they are so “hyper-real,” captures beautifully a true New Mexican sensibility.
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