{"id":18673,"date":"2023-10-20T16:16:26","date_gmt":"2023-10-20T21:16:26","guid":{"rendered":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/?p=18673"},"modified":"2023-11-04T09:33:10","modified_gmt":"2023-11-04T14:33:10","slug":"fall-2023-contributors","status":"publish","type":"post","link":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/archives\/18673","title":{"rendered":"Fall 2023 Contributors"},"content":{"rendered":"

Megan J. Arlett<\/strong> was born in the UK, grew up in Spain, and now lives in New Mexico. The recipient of two Academy of American Poets Prizes, her work has appeared in Best New Poets 2019<\/em>, Best New British and Irish Poets<\/em>, Gulf Coast<\/em>, The Kenyon Review<\/em>, New England Review<\/em>, Passages North<\/em>, and Prairie Schooner<\/em>, among others.<\/p>\n

Dia Calhoun<\/strong> is the author of seven young adult novels, including two verse novels, After the River the Sun <\/em>and Eva of the Farm<\/em> (Atheneum, 2013, 2012). She has won the Mythopoeic Fantasy Award for Children; published poems and essays in The Writer\u2019s Chronicle<\/em>; EcoTheo Review<\/em>; MORIA Literary Magazine<\/em>; and Blue Will Rise Over Yellow: An International Poetry Anthology for Ukraine<\/em>, and others. She co-founded readergirlz, recipient of The National Book Foundation Innovations in Reading Prize, and taught creative writing at Seattle University and Stony Brook University. She lives on five acres beside the wild Nisqually River in Washington state. More at diacalhoun.com.<\/p>\n

Lana Haffar<\/strong> is a writer currently studying at the University of Texas at Austin, where she has worked on the English department\u2019s literary journal, Hothouse<\/em>. She recently completed a fellowship with The Texas Tribune<\/em>. She was born and raised in Houston.<\/p>\n

Nathan Holic<\/strong> is the author of Bright Lights, Medium-Sized City <\/em>(Burrow Press). He is also the author of The Things I Don\u2019t See<\/em> (Main Street Rag), and American Fraternity Man<\/em> (Beating Windward Press), and is the Graphic Narrative Editor at The Florida Review<\/em>. His traditional-text fiction has been published in The Portland Review<\/em>, Iron Horse<\/em>, and The Apalachee Review<\/em>, but he also creates comics, some of which have been published in Booth<\/em>, Saw Palm<\/em>, Bridge Eight<\/em>, and Redivider<\/em>.<\/p>\n

Joy Amina Garnett<\/strong> is an artist and writer in Los Angeles. Her stories have appeared in Evergreen Review<\/em>, Ping-Pong<\/em>, Rusted Radishes<\/em>, Full Blede<\/em>, Two Coats of Paint<\/em>, and The Artists\u2019 and Writers\u2019 Cookbook<\/em> (powerHouse Books, 2016). She has been awarded residencies at Yaddo, the Elizabeth Foundation for the Arts, and the Atlantic Center for the Arts, and has received grants from Anonymous Was A Woman, the Wellcome Trust, and the Chipstone Foundation. She is working on a memoir of Egypt and a collection of short stories about sexual indiscretions, death, and food.<\/p>\n

Destiny Moore<\/strong> is a 21-year-old black woman who was born in Miami, Florida. She attended New World School of the Arts (NWSA) where she graduated in 2020 and currently attends Maryland Institute College of Art (MICA) as an undergraduate student. In 2020 she was a Young Arts finalist and presidential nominee, Gordon Parks Centennial Scholarship Winner, and recipient of the Miami-Dade County Scholastics Silver Key<\/p>\n

Bijaan Noormohamed<\/strong> is a poet and translator at Princeton University. He works on ancient Chinese translations of metaphysical and war poetry, particularly during the Tang-Song transition and the early Qing period. His translations and poetry have been featured in POETRY <\/em>Magazine<\/em>, the Oxonian Review<\/em>, and the Marque<\/em>.<\/p>\n

Dana Salisbury <\/strong>started out as a visual artist with work shown widely in New York City and New England. She switched mid-career to experimental choreography and site-specific performance. From 2004 through 2013 her work explored non-visual perception. Her company, Dana Salisbury and the No-See-Ums, created <\/span>Unseen Dances<\/span><\/i>, dances for blindfolded audiences. Her Dark Dining Projects were participatory performances offering sensory feasts to blindfolded guests. Her dance writing appeared in <\/span>Movement Research Performance Journal<\/span><\/i> and <\/span>Contact Quarterly<\/span><\/i>. For the last several years, she has focused her attention on creative writing.<\/span><\/p>\n

CJ Scrunton <\/strong>is a writer and poet from Tennessee currently living on the Great Lakes, where they spend their time teaching, researching ghost stories, and working with local queer youth outreach programs. Their work has recently appeared in The Cincinnati Review,<\/em> Autofocus<\/em>, New South<\/em>, and other journals. Their first full-length poetry manuscript has been a semifinalist for the YesYes Books Pamet River Prize and a finalist for the Willow Springs Books Emma Howell Rising Poet Prize.
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Deborah J. Shore <\/strong>has spent the better part of her life housebound or bedridden with sudden onset severe ME\/CFS. This neuroimmune illness has made engagement with and composition of literature costly and, during long seasons, impossible. Her recent or forthcoming publications include THINK<\/em>, Thimble Lit<\/em>, ballast<\/em>, Ekstasis<\/em>, Reformed Journal<\/em>, The Orchards Poetry Journal<\/em>, Amethyst Review<\/em>, and Christian Century<\/em>. She has won poetry competitions at the Anglican Theological Review<\/em> and the Alsop Review<\/em>.<\/p>\n

Moriel Rothman-Zeche<\/strong>r is a Jerusalem-born novelist and poet. His first novel, Sadness Is a White Bird<\/i>, was a finalist for the Dayton Literary Peace Prize and a National Jewish Book Award and was longlisted for the Center for Fiction’s First Novel Prize. His second novel, Before All the World, <\/i>was named an NPR Best Book of 2022. His poems and essays have been published in the The American Poetry Review, Barrelhouse, Colorado Review, the New York Times, the Paris Review’s Daily, Zyzzyva<\/i> and elsewhere. He holds an MFA in Poetry from the Bennington Writing Seminars, where he received a Donald Hall Scholarship for Poets. Moriel is the recipient\u00a0of the National Book Foundation’s ‘5 Under 35’ honor and two MacDowell Fellowships for Literature. He lives in Philadelphia, and teaches creative writing at Swarthmore College.<\/p>\n

Burnside Soleil <\/strong>grew up in a houseboat on the bayou but these days is a pilgrim in New Orleans. His work has appeared in American Poetry Review<\/em>, Kenyon Review<\/em>, New England Review<\/em>, and elsewhere.<\/p>\n

Lindsay Stewart <\/strong>is from Glen Ellen, California. Her work has been featured in The Los Angeles Review<\/em>, Tar River Poetry<\/em>, Spillway<\/em>, and Red Wheelbarrow<\/em>, and one of her poems was featured on an episode of the Poetry Foundation\u2019s VS podcast. Her debut chapbook house(hold)<\/em> (Eggtooth Editions) is out now.
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Wang Yisun<\/strong> was a masterful twelfth-century Song Dynasty poet who was fascinated with the concept of \u201cdisappearance\u201d as it related to natural phenomena. Such topics are central to his main work, the Huaweiji, in which Wang meditates on the relationships between the seasons and natural processes as an extended metaphor for life under Song rule.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Megan J. Arlett was born in the UK, grew up in Spain, and now lives in New Mexico. The recipient of two Academy of American Poets Prizes, her work has appeared in Best New Poets 2019, Best New British and Irish Poets, Gulf Coast, The Kenyon Review, New England Review, Passages North, and Prairie Schooner, […]<\/p>\n","protected":false},"author":2292,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[79],"tags":[37],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6Jypy-4Rb","_links":{"self":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/18673"}],"collection":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/users\/2292"}],"replies":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/comments?post=18673"}],"version-history":[{"count":10,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/18673\/revisions"}],"predecessor-version":[{"id":18868,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/18673\/revisions\/18868"}],"wp:attachment":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/media?parent=18673"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/categories?post=18673"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/tags?post=18673"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}