Issue 27 - Columbia: A Journal of Literature and Art

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Shawl: Dorothy Wordsworth at Eighty Any strong emotion tempers my madnesses. The death of beloveds. William in his fever-coat. I reenter the world through a shallow door and linger within it, conversations returning, the lateral cycle of days. I do not know what it is that removes me, or sets me again at our long table, two crescents of pike on a dark plate. But memory lives then, and clarity. Near my back once again, our room with a brook at the baseworks, its stasis of butter and cheese. Or there, in a corner, my shawl of wayside flowers. Orchids and chickory. Little tongues of birth-wort. I remember a cluster of autumn pike and a dark angler on the slope of the weir. The fish in his hand and the roiling water brought forth with their brightness his leggings and waist. But his torso was lost into shadow, and only his pipe smoke survived, lifting, then doubling, on the placid water above him. Often, I think, I encompass a similar shadow. But rise through it, as our looped initials once rose over dye-stained eggs. We were children. With the milk of a burning candle we stroked our letters to the hollowed shells. And dipped them, then, in a blackberry bath, until the script of us surfaced, pale, independent, the D and cantering W Then C for Christopher. V—William laughed—for vale. And P, he said, for Pisces, Polaris, the gimbaling planets. And for plenitude, perhaps, each season, each voice in its furrow of air. . . Once, I was told of a sharp-shinned hawk who pursued the reflection of its fleeting prey through three striations of greenhouse windows: the arrow of its body cracking first into anteroom, then desert, then the thick mist of the fuchias. It lay in a bloodshawl of ruby flowers, while the petals of grass on the brick-work floor repeated its image. Again and again and again. As all we have passed through sustains us.
KAY RYAN Weakness and Doubt Failure Weakness and doubt There could be nutrients are symbionts in failure— famous throughout deep amendments the fungal orders to the shallow soil which admire pallors, of wishes. rusts, grey talcums, Think of the the whole palette dark and bitter of dusts and powders flavors of of the rot kingdom, black ales and do not share and peasant loaves. our kind's disgust Think of licorices. at dissolution, following Think about the interplay of doubt the tales of how and weakness Indians put fishes as a robust under corn plants. sort of business; Next time hope the way we relinquishes a form, love construction, think about that. they love hollowing.
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TRANSLATION SECTION TRY COAST TO CO
Page 3 and 4:
Editor-in-Chief LORI SODBRLIND Exec
Page 5 and 6: ELIZABETH MACKLIN SAMN STOCKWELL DA
Page 7 and 8: IO her with broken locks on pill ca
Page 9 and 10: o a: ID u. O >- IT 0 in on his face
Page 11 and 12: 18 or his daughter. He said north o
Page 13 and 14: in charge of the lifted-up-spirits
Page 15 and 16: The wife says, "Oh, shut up, won't
Page 17 and 18: then sits down, clutching the baske
Page 19 and 20: 34 They all drink. The wife's head
Page 21 and 22: Liliana Ursu, a native of Bucarest,
Page 23 and 24: De la fereastra Ingerului Fan, iarb
Page 25 and 26: The Key to Mystery Hot is my body a
Page 27 and 28: 5° Everything Kobo Abe ever wrote
Page 29 and 30: T. 54 "How ironic," the man said, l
Page 31 and 32: GWYNETH LEWIS Whose coat is that ja
Page 33 and 34: o < s 0 o In his poem, "Strange Mee
Page 35 and 36: O o 66 So this is the man you dream
Page 37 and 38: ELIZABETH MACKLIN The Secret Note Y
Page 39 and 40: When a woman loves a man, they have
Page 41 and 42: TERESE SVOBODA At the Castle To say
Page 43 and 44: JUDITH BAUMEL Hot One moment it was
Page 45 and 46: JEAN MONAHAN The Concert —Isabell
Page 47 and 48: One of the Last Days As through a d
Page 49 and 50: only to lift their branches for one
Page 51 and 52: 98 always looked at curating as col
Page 53 and 54: 102 structure versus vertical, hars
Page 55: LINDA BIERDS The Breaking-Aways —
Page 60 and 61: DANIEL TOBIN At the Egyptian Exhibi
Page 62 and 63: NATALIE KUSZ After Bedtime At night
Page 64 and 65: Q. Z 3 ID 124 me to visit a squat i
Page 66 and 67: 128 VII. Somehow I knew not to tell
Page 68 and 69: 132 It was an illustrated history o
Page 70 and 71: i36 day might have been some kind o
Page 72 and 73: 3 140 XIV. He must have been there
Page 74 and 75: o z 111 o 144 smiled; she even got
Page 76 and 77: I48 Mostly things are quiet on the
Page 78 and 79: 152 the grass. I imagined him still
Page 80 and 81: 156 other on a mother's shoulder. I
Page 82 and 83: o X < If) 160 us from behind. It wa
Page 84 and 85: (tt> RK60T IB/ER EVEN PTWWNmoW XTSH
Page 86 and 87: Dykes To Ulatch Out For AS THE RE W
Page 88 and 89: "IF OMUY HE HAt> ONt \NTo THE WU «
Page 90 and 91: working on Hula in story form, you
Page 92 and 93: i8o Cinematically, there is the req
Page 94 and 95: WINTER COMPETITION MICHELLE MITCHEL
Page 96 and 97: and she looked at him for hours, an
Page 98 and 99: u in O cc a. H LJ D. o a hi 192 "Co
Page 100 and 101: IT < < o 196 I heard the car door s
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Issue 27 - Columbia: A Journal of Literature and Art

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