We celebrated our twenty-fifth anniversary year by doing what we’ve always done: publish the groundbreaking fiction—three excerpts from Jesmyn Ward’s National Book Award–winning novel, Sing, Unburied, Sing—essays, nonfiction, and poetry our readers have come to expect. Revisit or catch up on… | Dec, 2017
“The summer of 2014, my daughter and I found ourselves on McCracken Pike in Millville, Kentucky, staring up at the former Old Taylor distillery,” explains Sarah Hoskins of her project Bourbon as it Used to be, Now Castle & Key, a documentation of the ruins and rehabilitation of the site.
I’m in the Marriott lobby surrounded by hundreds of puppets. They’re peeking from behind the fake motel plants, eating dinner with folded napkins in the River City Grille & Lounge, slipping into elevators. A group of puppets sings in the corner. A fountain bubbles in the lobby’s center, surrounded by fold-out tables, all of them filled with puppets.
A poem from our spring 2015 issue.It’s Derby Day. And it’s been 30 years since 1984 when I stood in the grandstand at Churchill Downs after betting my last $20 on Swale that horse I groomed and watched as he pulled away from Wayne Lukas’s great filly Althea to win the 110th running of the race. Thirty years and a lot of souls have risen to the upper register of life and my own life has been made more reachable by what their love did to me.
Divided into four sections and set in Kentucky, Fanny Says by Nickole Brown weaves a double narrative that folds together both a granddaughter’s recollections and a grandmother’s persona. The imagery is blunt, the dialect true, and what unfolds is a metaphoric hope chest, a series of living flashbacks through which Brown creates a poetic treatise on memory’s workings.
Seven photographs by Ralph Eugene Meatyard.
Central Kentucky in the 1960s was a gathering place for unusual talent. Guy Davenport wrote, painted, and taught in Lexington with his friend the photographer Ralph Eugene Meatyard just down the road. Wendell Berry was around, too, teaching creative writing at the University of Kentucky, until he moved up to Henry County to farm. Thomas Merton lived in a country monastery to the southeast.
It’s midnight in Kentucky. A man sits at a desk, pecking at an ancient Apple I computer; the light’s still on in the basement. Somewhere a juke box is playing “A Feather’s Not A Bird,” by Rosanne Cash. A glass of bourbon bounces when it hits the barroom floor.