download this issue as a PDF

More documents

Recommendations

Info

I spooned Lauren while rubbing her back. She told me that she had dreamed that she had been deaf, but then was trying to convince a guy that she could actually hear. I thought that her dream was about us. At her front door, I turned around to Lauren and we kissed, tasting the coffee off each other’s tongues. I sat in my car—lingering—thinking how grown up all of that was. When I got home my father asked me, “So, your lights aren’t working?” I said, “Yeah,” and showed my father the switch that didn’t work. I felt the need to prove it to him. He said I should get it fixed so I would be safe. And that was it. He hadn’t ever asked me what was happening: how Lauren and I were doing when we first got together, or how I was after it fell apart, or anything about me and her trying again. And I almost wished my father had asked me what happened, because I thought that if he wasn’t going to ask then, he wasn’t going to ask me ever. I believed that could have been the opening to talk about the thrill of sleeping with someone you love, of waking up next to someone with the confusion of the morning sun, and realizing you are still there with them, and wanting to stay with them for just five more minutes, always just a little longer. 12
CREATIVE PIECE NEITHER SLEEPING NOR WAKING Kevin McLellan Kevin McLellan is the author of the chapbook Round Trip (Seven Kitchens, 2010), a collaborative series of poems with numerous women poets, and Shoes on a wire (Split Oak, forthcoming). He has recent or forthcoming poems in journals including: 2014 Poet’s Market, American Letters & Commentary, Barrow Street, Colorado Review, Horse Less Review, Kenyon Review Online, Sixth Finch, Western Humanities Review, Witness and numerous others. Kevin lives in Cambridge MA, and sometimes teaches poetry workshops at the University of Rhode Island in Providence kevinmc66@earthlink.net http://sites.google.com/site/kevinmclellanpoetry/ Late afternoon and these necessary deafening birds ________________________ Opaque white curtains now open light I am envious ________________________ Floating dust particles and the early moon across a face ________________________ Now foreign to me a body always happening 13
Page 2 and 3: ACKNOWLEDGMENTS The Luminary would
Page 4 and 5: FOREWORD THE STORY OF THE BED Dr. M
Page 6: CREATIVE PIECE FORMATION OF A DIFFE
Page 10 and 11: “You’re not fucking me,” Laur
Page 14 and 15: CRITICAL ‘NEVER SLEEP AGAIN’ -
Page 16 and 17: ecomes a symbol. These range from u
Page 18 and 19: alarm clock. She has to synchronize
Page 20 and 21: Although they all deal with the sam
Page 22 and 23: the Nightmare series that Freddy-fe
Page 24 and 25: 4 Dir. by Sean S. Cunningham, Param
Page 26 and 27: CRITICAL ‘THEN DRAW THE CURTAINES
Page 28 and 29: etweene the two Famous Houses, Lanc
Page 30 and 31: The lack of a critical consensus co
Page 32 and 33: Whereas we might, at the moment, te
Page 34 and 35: Having heard this, the King address
Page 36 and 37: study of the authorship question of
Page 38 and 39: CRITICAL BETWEEN THE SHEETS: ‘LAM
Page 40 and 41: Sophie Calle has built a unique car
Page 42 and 43: of the situation over to Calle. Sim
Page 44 and 45: documents. In abandoning this stric
Page 46 and 47: language systems), thereby mimickin
Page 48 and 49: that is peculiar; the social world
Page 50 and 51: homosexual and that I’m going to
Page 52 and 53: CRITICAL SCENES FROM A BEDROOM: SIT
Page 54 and 55: edroom will be considered, in turn,
Page 56 and 57: and imagination, but perhaps it is
Page 58 and 59: phantasm of space. The bed is (both
Page 60 and 61: 4 The Cartel (1978-1988) was an ass
Page 62 and 63:
CRITICAL THE PUBLIC AND PRIVATE REA
Page 64 and 65:
panelling, with a cupboard door or
Page 66 and 67:
customs, rituals and interactions t
Page 68 and 69:
mother named Margaret Adams: ‘…
Page 70 and 71:
The bed was not the only space with
Page 72 and 73:
25 Samuel Sewall, The Diary of Samu
Page 74 and 75:
CRITICAL JOUISSANCE: JOURNEYS BEYON
Page 76 and 77:
What Cixous calls for in ‘Sorties
Page 78 and 79:
can be released. As contradictory a
Page 80 and 81:
I have a faint recollection from an
Page 82 and 83:
INTERVIEW / REVIEW PROFESSOR TERRY
Page 84 and 85:
uneasy with abstract thought; it pr
Page 86 and 87:
proudly presented to me as the bigg
Page 88:
absolutely send them into total cha
show all

download this issue as a PDF

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?