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August 2020

New Books by NER Authors

August 12, 2020

“This is a jewel of a book.” —Ian McEwan

From the publisher: In 1971 Jay Parini was an aspiring poet and graduate student of literature at University of St Andrews in Scotland; he was also in flight from being drafted into service in the Vietnam War. One day his friend and mentor, Alastair Reid, asked Jay if he could play host for a “visiting Latin American writer” while he attended to business in London. He agreed–and that “writer” turned out to be the blind and aged and eccentric master of literary compression and metaphysics, Jorge Luis Borges. About whom Jay Parini knew precisely nothing. What ensued was a seriocomic romp across the Scottish landscape that Borges insisted he must “see,” all the while declaiming and reciting from the literary encyclopedia that was his head, and Jay Parini’s eventual reckoning with his vocation and personal fate.

Jay Parini is a poet, biographer, and critic who has published seven novels, most notably The Last Station, which was made into an Academy Award-nominated film in 2009 and translated into over twenty-five languages. He is the D. E. Axinn Professor of English and Creative Writing at Middlebury College, and the author of Promised Land: Thirteen Books that Changed America. Listen to him read his essay “A Beer With Borges” (NER 39.1) in Episode 5 of NER Out Loud. 

Borges and Me can be purchased at Bookshop.org or your local independent bookstore.


“Exacting, hilarious, and deadly . . . A writer of exhilarating freedom and daring.” —Zadie Smith, Harper’s Bazaar

From the publisher: Edie is stumbling her way through her twenties–sharing a subpar apartment in Bushwick, clocking in and out of her admin job, making a series of inappropriate sexual choices. She’s also, secretly, haltingly, figuring her way into life as an artist. And then she meets Eric, a digital archivist with a family in New Jersey, including an autopsist wife who has agreed to an open marriage–with rules. As if navigating the constantly shifting landscapes of contemporary sexual manners and racial politics weren’t hard enough, Edie finds herself unemployed and falling into Eric’s family life, his home. She becomes a hesitant friend to his wife and a de facto role model to his adopted daughter. Edie is the only black woman who young Akila knows.

Raven Leilani‘s work has been published in Granta, McSweeney’s Quarterly Concern, Narrative, Yale Review, Conjunctions, and the Cut, among others. She won Narrative’s Ninth Annual Poetry Contest and the Matt Clark Editor’s Choice Prize, as well as short fiction prizes from Bat City Review and Blue Earth Review. Luster is her first novel. Her story “Dead Weight” appeared in NER 39.3. Read her conversation with NER fiction reader Michael Webster Thompson here. 

Luster can be purchased at Bookshop.org or your local independent bookstore.


“[Quinn’s] voice is at once poetic and scientific—exactly what we need in today’s overheated world.” —David Gessner, author of Leave It As It Is: A Journey Through Theodore Roosevelt’s American Wilderness

From the publisher: Sign Here If You Exist explores states of being and states of mind, from the existence of God to sense of place to adoptive motherhood. In it, Jill Sisson Quinn examines how these states both disorient and anchor us as she treks through forests, along shorelines, and into lakes and rivers as well as through memories and into scientific literature. Each essay hinges on an unlikely pairing—parasitic wasps and the afterlife, or salamanders and parenthood—in which each element casts the other in an unexpectedly rich light. Quinn joins the tradition of writers such as Annie Dillard, Scott Russell Sanders, and Eula Biss to deliver essays that radiate from the junction of science and imagination, observation and introspection, and research and reflection.

Jill Sisson Quinn’s essays have appeared in Orion, Ecotone, OnEarth, and many other magazines. She has received the Annie Dillard Award in Creative Nonfiction, a John Burroughs Essay Award, and a Rona Jaffe Writers’ Award. Her work has been reprinted in Best American Science & Nature Writing 2011. Her first book, Deranged, was published by Apprentice House of Loyola University Maryland in 2010. A regular commentator for Wisconsin Public Radio’s Wisconsin Life series, she lives and writes in Scandinavia, Wisconsin. An essay from this collection, “Big Night,” appeared in NER 36.1 and was selected for the 2016 Best American Essays. 

Sign Here If You Exist can be purchased at Bookshop.org or your local independent bookstore.


Matthew Baker’s mind is an oyster producing pearl after pearl. Each story in Why Visit America offers an eerie and unsettling vision of our possible future while remaining emotionally truthful and, as always, incredibly damn fun.”
—Kelly Luce, author of Pull Me Under

From the publisher: The citizens of Plainfield, Texas, have had it with the broke-down United States. So they vote to secede, rename themselves America in memory of their former country, and happily set themselves up to receive tourists from their closest neighbor: America. Couldn’t happen? Well, it might, and so it goes in the thirteen stories in Matthew Baker’s brilliantly illuminating, incisive, and heartbreaking collection Why Visit America.

 Matthew Baker is the author of the story collection Hybrid Creatures and the Edgar Award-nominated children’s novel If You Find This. He was named one of Variety‘s “10 Storytellers To Watch” and his fiction has appeared in publications including the Paris Review, American Short Fiction, One Story, Electric Literature, Conjunctions, and Best Of The Net. Born in the Great Lakes region of the United States, he currently lives in New York City. His stories have appeared in NER issues 33.2 and 35.4. 

Why Visit America can be purchased at Bookshop.org or your local independent bookstore.

Filed Under: Featured, NER Authors' Books, News & Notes Tagged With: Jay Parini, Jill Sisson Quinn, Matthew Baker, Raven Leilani

Emma Bolden

Writer’s Notebook—Mea Maxima Culpa: On “Confiteor”

August 10, 2020

I asked my sixth-grade Catechism teacher—and then I got in trouble.

Emma Bolden, author of “Confiteor” (NER 41.2).


When did Jesus know He was Jesus? Was he born knowing, or did He learn later? And if He was born knowing, does that mean He wasn’t a normal human baby?” I asked my sixth-grade Catechism teacher—and then I got in trouble. Some questions, she told me, should be silent, released as soon as they’re thought like doves winging up to God. I thought the questions and I kept them silent, but I couldn’t dove them, couldn’t give them the wings they needed to escape.

What does it mean, to be holy? To unite with divinity? In Catechism we learned that on Pentecost, God turned Himself into tongues of flame He used to speak to the disciples. I waited for my own ears to burn. I followed all of the rules I was taught. I capitalized “He” every time the antecedent was “God.” I fasted on holy days and Lenten Fridays. I read how the saints shivered and sacrificed. Every mass, I prayed the Confiteor. I confessed to almighty God that I had sinned by my fault, by my fault, by my most grievous fault. I beat my breast three times. I sought solace in the sacraments, in the belief that the hand of absolution the priest presses against your head is the hand of God.

I confess: I confessed, and I came no closer to knowing God, to burning with the word of Him, to bursting into a holy. I must have sinned, I told myself. I must have forsaken my God so deeply that He in turn had forsaken me.

At summer camp, a friend told me that he wouldn’t believe in God until God spoke to him directly. 

I sat slack-jawed with shock. “But why assume God only exists if he personally proves his existence to you?”

My friend shrugged. “Because if God is God, He can do anything.” For the rest of the day I walked around fogged by my own resistance to the revelation I nonetheless could not keep from coming: that I did the very same thing, seeking God not in the world and its beauties but as a private messenger who spoke His holies to me. That the problem wasn’t so much one of sin as of positioning, of a way of viewing the world that set myself in its center like a jewel, waiting for God to shine it.

I confess: I am the center of nothing but my viewing of the world.

I confess: the closest I have come to holy is when I have understood that the one thing I will never understand is God. That the experience of the divine is to encounter all of the things that are larger than me—time and space and all of the thousands of tiny, immaculate coincidences that tie us all together—and acknowledge that understanding them is impossible, to find stillness in that absence of understanding, the fault line that lies between the human and whatever the divine may be.


Emma Bolden is the author of three full-length collections of poetry—House Is an Enigma (Southeast Missouri State University Press, 2018), medi(t)ations (Noctuary Press, 2016), and Maleficae (GenPop Books, 2013)—and four chapbooks. She is the recipient of a 2017 Creative Writing Fellowship from the NEA, and her work has appeared in The Norton Introduction to Literature, Best American Poetry, Best Small Fictions, and such journals as Mississippi Review, the Rumpus, StoryQuarterly, Prairie Schooner, New Madrid, TriQuarterly, and Indiana Review. She currently serves as associate editor-in-chief for Tupelo Quarterly.

Filed Under: Featured, NER Digital, News & Notes Tagged With: Writer's Notebook

Listen to NER

Lopez, Lynch, Baker, and Yoon

August 7, 2020

Cover art of NER 41.1, spring 2020. Bright-colored cover art of a hand-drawn apartment building front, with faces of people, pets, and more, all going about their business.

Four NER authors read their work aloud (NER 41.1).

Robert Lopez on the slurs that punctuated his New York childhood, in “Coming From Nowhere”: “Racists are a creative and prolific people.”
Alessandra Lynch reads her poem “Going”: “Going now to dark, going now to write in the dark / love-cabinet . . .”
Linda Frazee Baker reads her translation of “Little Diary of a Germany Journey,”
by Max Frisch, taking us across the border into Germany in the spring of 1935. “I’ve just crossed over the border, and whenever one of us whose real homeland is language first sets foot on German soil, we feel a peculiar sense of strain . . .”
Emiy Jungmin Yoon reads from her poem “Elsewhere”: “I read that a burro walked into a lake and killed herself / after losing her newborn, and believe in an elsewhere. . . .”

Stream more from NER authors on our audio page!

Filed Under: Audio, Featured, News & Notes Tagged With: Alessandra Lynch, Emily Jungmin Yoon, Linda Frazee Baker, Max Frisch, Robert Lopez

Marilyn Hacker

An Introduction to Fifteen Contemporary British Poets

August 5, 2020

from NER 41.2
Buy the issue in print or as an ebook

Hacker brings fifteen contemporary British poets to the pages of NER 41.2, with an encore of poems online.

AT A MOMENT when we are drastically separated from one another, it is a small antidote to bring some writers and readers together. It has become paradoxical how little most American readers interested in poetry know about contemporary British poets, with a few exceptions (those whose publishers are well distributed publishers in the United States). It’s even more of a paradox when we remember how, once, many American poets looked to their British counterparts for inspiration/validation/exchange: Emily Dickinson sought out every new book by Elizabeth Barrett Browning and wrote an elegy when she died; Pound, Eliot, and H.D. made London the headquarters of their different modernist projects, Pound “discovering” British poets for Harriet Monroe at Poetry, and Eliot being consequential in a re-evaluation of the Metaphysical poets, making it more likely that American and British readers both would continue to read John Donne and George Herbert. Auden, of course, traveled in the other direction. And both Sylvia Plath’s achievement and her tragedy were enacted transatlantically.

Still, the understandable desire, the project, to create and define a poetry of and from the United States was so successful that, for many readers, in the United States and in non-anglophone countries, poetry in English today is poetry from the United States: not Canada, Great Britain, Ireland, India, Australia, Jamaica. The commercial vagaries of book and magazine distribution lead to insularity, even with a common language—to read a writer or a journal on the Internet, you need to know to look for them/it. As someone with a metaphorical foot in both the United States and Great Britain (while living in neither), I had the pleasure here of bringing together a group of British poets who might not yet be known to NER readers.

As always with an editorial venture, there are other poets whose work I’d like also to have included. The Internet (and a local bookshop!) will enable you to seek them out too. Some of them are Ishion Hutchinson, Patience Agbabe, Paul Farley, Mimi Khalvati, Kei Miller, Vahni Capildeo.

British poetry today is, like American poetry, more and more “hyphenated,” with important poets established and emerging of South Asian, African, Middle Eastern, and Caribbean descent, as well as transfuges from elsewhere in Europe. Many important poets are also translators, with roots or connections with another language: e.g., Hungarian for George Szirtes and Russian for Sasha Dugdale and Carol Rumens, all three of whom are featured here. Every variety of linguistic experiment is practiced, from virtuoso work in the sonnet or terza rima (that can incorporate colloquial language and dialects) to polyglot dislocations (that can incorporate them too—as well as reaching back to earlier Englishes, as Caroline Bergvall did in books riffing on Chaucer). Landscape and cityscape are backdrop to narrative or a focus in themselves, and sometimes their consideration is also ekphrastic. None of this is radically different from American, or anglophone Canadian, poetry, but these are different poets, with different histories behind them, with bodies of work whose discovery enriched this (sometimes) American reader.


 Read the poems online or order a print copy today. 


Marilyn Hacker is the author of fourteen books of poems, including Blazons (Carcanet, 2019) and A Stranger’s Mirror (Norton, 2015), and an essay collection, Unauthorized Voices (Michigan, 2010). Her sixteen translations of French and Francophone poets include Samira Negrouche’s The Olive Trees’ Jazz (Pleiades, 2020) and Emmanuel Moses’s Preludes and Fugues (Oberlin, 2016). She received the 2009 American PEN Award for poetry in translation for Marie Etienne’s King of a Hundred Horsemen, the 2010 PEN Voelcker Award, and the Argana international poetry award from the Beit as-Sh’ir/House of Poetry in Morocco in 2011. She lives in Paris.

Filed Under: Featured, News & Notes, Poetry Tagged With: Marilyn Hacker

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Literature & Democracy

Tomas Venclova

“A principled stance against aggression should never turn into blind hatred. Such hatred does not help anyone to win . . .”

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