{"id":2543,"date":"2010-12-01T00:05:38","date_gmt":"2010-12-01T05:05:38","guid":{"rendered":"\/nashvillereview\/?p=2543"},"modified":"2015-06-12T15:45:16","modified_gmt":"2015-06-12T21:45:16","slug":"fall-2010","status":"publish","type":"post","link":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/archives\/2543","title":{"rendered":"Fall 2010"},"content":{"rendered":"<h6><a title=\"Fiction\" href=\"\/nashvillereview\/pieces\/fiction\">fiction<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/2558\">Wedding Night<\/a> by Rebecca Makkai<br \/>\n<a href=\"\/nashvillereview\/archives\/2650\">THE MERCY OF KINGS<\/a> by Jesse Ball<br \/>\n<a href=\"\/nashvillereview\/archives\/3052\">The Criminal Mastermind is Confined<\/a> and\u00a0<a href=\"\/nashvillereview\/archives\/3047\">Minotaur<\/a> by Peter Ho Davies<br \/>\n<a href=\"\/nashvillereview\/archives\/3241\">The Collision Therapist<\/a> by Paul Robert Chesser<\/p>\n<h6><a title=\"Poetry\" href=\"\/nashvillereview\/pieces\/poetry\">poetry<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/3384\">Sonnet Crown for Blind Tom<\/a> and <a href=\"\/nashvillereview\/archives\/3388\">Harry T. Burleigh meets Antonin Dvorak, 1893<\/a> by Tyehimba Jess<br \/>\n<a href=\"\/nashvillereview\/archives\/3160\">A Genesis Text for Larry Levis, Who Died Alone<\/a> by Norman Dubie<br \/>\n<a href=\"\/nashvillereview\/archives\/3307\">Four-Letter Word<\/a> by Hugh Martin<br \/>\n<a href=\"\/nashvillereview\/archives\/3180\">My Future Therapist Asks About Rage<\/a> by Cathy Linh Che<br \/>\n<a href=\"\/nashvillereview\/archives\/3022\">Cotton Candy<\/a>,\u00a0<a href=\"\/nashvillereview\/archives\/3028\">Special Orders<\/a>, and\u00a0<a href=\"\/nashvillereview\/archives\/3032\">Fast Break<\/a> by Edward Hirsch<br \/>\n<a href=\"\/nashvillereview\/archives\/3166\">The Lone Ranger, Those Thrilling Days of Yesteryear<\/a> by Jeannine Savard<br \/>\n<a href=\"\/nashvillereview\/archives\/3313\">Apology with Axe<\/a> and <a href=\"\/nashvillereview\/archives\/3317\">In the Soak<\/a> by Bridget Talone<br \/>\n<a href=\"\/nashvillereview\/archives\/3184\">Late Afternoon with Chagall<\/a> by Michelle Pe\u00f1aloza<\/p>\n<h6><a title=\"Nonfiction\" href=\"\/nashvillereview\/pieces\/nonfiction\">NONFICTION<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/3058\">You Don&#8217;t Look Like Anyone I Know<\/a> by Heather Sellers<\/p>\n<h6><a title=\"Comics\" href=\"\/nashvillereview\/pieces\/comics\">COMICS<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/3074\">My Ex<\/a> by Jeffrey Brown<br \/>\n<a href=\"\/nashvillereview\/archives\/2669\">Cards<\/a> by Jess Smart Smiley<br \/>\n<a href=\"\/nashvillereview\/archives\/2787\">My Egyptian Fortune Cookie<\/a> by Lisa Lim<\/p>\n<h6><a title=\"Jukebox\" href=\"\/nashvillereview\/pieces\/jukebox\">jukebox<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/2634\">First Song<\/a> by Andrew Bird<br \/>\n<a href=\"\/nashvillereview\/archives\/2537\">Skinny Love<\/a> by Bon Iver<br \/>\n<a href=\"\/nashvillereview\/archives\/3259\">Floatin&#8217; Down Catawba<\/a> and\u00a0<a href=\"\/nashvillereview\/archives\/3255\">Where Otis Went<\/a> by Half Dozen Brass Band<br \/>\n<a href=\"\/nashvillereview\/archives\/2606\">Lewis Takes Off His Shirt<\/a> by Owen Pallett<br \/>\n<a href=\"\/nashvillereview\/archives\/2547\">Copper Islands<\/a> by Unwed Sailor<br \/>\n<a href=\"\/nashvillereview\/archives\/3285\">Absence<\/a> by Mary Gauthier and Carrie Rodriguez<br \/>\n<a href=\"\/nashvillereview\/archives\/3294\">My Better Half<\/a> and\u00a0<a href=\"\/nashvillereview\/archives\/3291\">Time Flies<\/a> by Bobby Braddock<br \/>\n<a href=\"\/nashvillereview\/archives\/3268\">Home<\/a> and\u00a0<a href=\"\/nashvillereview\/archives\/3263\">Wounded<\/a> by Paul Zografi<br \/>\n<a href=\"\/nashvillereview\/archives\/2610\">Cumberland Gap<\/a> by Jalan Crossland<br \/>\n<a href=\"\/nashvillereview\/archives\/2563\">Gouging My Inner Eye<\/a> and\u00a0<a href=\"\/nashvillereview\/archives\/2569\">Hibernation<\/a> by Dawson\/\/Caplan<\/p>\n<h6><a title=\"Film &amp; Dance\" href=\"\/nashvillereview\/pieces\/film-dance\">film &amp; dance<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/2581\">At Night<\/a> by Michael Kaffka<\/p>\n<h6><a title=\"Interviews\" href=\"\/nashvillereview\/interviews\">interviews<\/a><\/h6>\n<p><a href=\"\/nashvillereview\/archives\/2963\">An Interview with Jesse Ball<\/a> by Matthew Baker<br \/>\n<a href=\"\/nashvillereview\/archives\/3120\">An Interview with Edward Hirsch<\/a> by Zachary Greenberg<\/p>\n<h6><a title=\"Fall 2010 Contributors\" href=\"\/nashvillereview\/archives\/2540\">contributors<\/a><\/h6>\n<h6><a title=\"Fall 2010 Masthead\" href=\"\/nashvillereview\/archives\/2553\">masthead<\/a><\/h6>\n<h6>COVER ART BY <a title=\"Fall 2010 Contributors\" href=\"\/nashvillereview\/archives\/2540\">jesse ball<\/a><\/h6>\n","protected":false},"excerpt":{"rendered":"<p>fiction Wedding Night by Rebecca Makkai THE MERCY OF KINGS by Jesse Ball The Criminal Mastermind is Confined and\u00a0Minotaur by Peter Ho Davies The Collision Therapist by Paul Robert Chesser poetry Sonnet Crown for Blind Tom and Harry T. Burleigh meets Antonin Dvorak, 1893 by Tyehimba Jess A Genesis Text for Larry Levis, Who Died [&hellip;]<\/p>\n","protected":false},"author":353,"featured_media":3142,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[3],"tags":[29],"jetpack_featured_media_url":"https:\/\/cdn.vanderbilt.edu\/vu-wordpress-0\/wp-content\/uploads\/sites\/15\/2010\/11\/19123407\/Fall-2010.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6Jypy-F1","_links":{"self":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/2543"}],"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\/353"}],"replies":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/comments?post=2543"}],"version-history":[{"count":4,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/2543\/revisions"}],"predecessor-version":[{"id":12069,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/2543\/revisions\/12069"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/media\/3142"}],"wp:attachment":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/media?parent=2543"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/categories?post=2543"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/tags?post=2543"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}