MQR goes back to school! Read a cluster of poems, stories, and essays that talk about life in the classroom and the world of academe—work by Rebecca Makkai, Kelsey Ronan, Cindy Clem, Stephen Burt, Douglas Trevor, and Eileen Pollack
Poetry by Karen An-hwei Lee and Li Qingzhao
Fiction by Matthew Baker, Colin Fleming, and David Lynn
The Hopwood Lecture by Gary Snyder
Poetry review by Laurence Goldstein
This issue of the Michigan Quarterly Review is devoted to translation in both the specific and the broad sense. We have gathered translations from a host of figures—scholars, critics, poets, novelists— and have reprinted the originals in their original languages, not to prove our scholarly bona-fides, but to emphasize translation in yet another sense, the shuttling between different alphabets—let’s translate that word into less loaded ones, like “written symbol-systems”—which manifest different appearances to the reader. The hope is not that readers will instantly turn to their Tibetan or Persian or Hebrew or Greek dictionary and cry—aha! I prefer this or that word or locution, but rather sense the arbitrariness of the English-sign-and-symbol system that our extraordinarily learned translators are bringing to bear on their efforts.
We begin 2013 with our first redesign in decades. Take a look, and read Ann Fabian on the sad life of pioneering herpetologist Mary Cynthia Dickerson and Zhanna Vaynberg on growing up between cultures, along with fiction by Cody Peace Adams, Kim Adrian, Morris Collins, Jen Fawkes, Stephanie Friedman, and William Kelly Woolfitt; a review of Witold Gombrowicz by Piotr Florczyk; and poetry by Marianne Boruch.
From the Desert Wars,” is a special section of startling and deeply felt poetry written by American soldiers fresh from Iraq and Afghanistan,“trying to make sense of things,” including work by Benjamin Busch, Clint Garner, Bruce Lack, Hugh Martin, and Patrick Whalen.
We are pleased to announce that Michigan Quarterly Review has awarded this year’s trio of literary prizes to Rebecca Makkai, for a finely crafted story about connection and quiet reappraisals, Angie Estes, for two exquisite poems “balancing the omnipresence of death with the fragile pleasures of life,” and Margaret Reges, for her poems’ exuberant physical description.